Writing

You Are What You Wear

Warmer weather is a welcome flowery relief in most places.  Except in my office -- since sunny days invite sproutings of a particularly chauvinistic variety from a male coworker, making me yearn for the winds of fall.  Scattering opinions on female attire like grass cuttings as he mows his way through the office, this season my colleague has grown buggy about skorts, the hybrid skirt-shorts with a sarong-like flap glimpsed everywhere from suburban tennis courts to big city streets. "They're false advertising, an affront to men," I hear him exclaiming indignantly to staffers he’s ambushed in the lunch room, down by the water cooler, in the next cubicle. "First I'm impressed by a woman in a sexy skirt,” he backtracks to the source of his apparel allergy, sounding rational if not exactly evolved.  “But when she turns around, she's wearing a pair of utilitarian shorts. She could be on her way to do the laundry."  Then, to his retreating audience he thunders his dark conclusion that skort wearers mix signals. “Skorts could lead to miscommunication between the sexes!”

The sentiment hangs in the air like a storm cloud and when he finally drifts off to compile some new sales figures it descends upon me in a rain of mirthful day dreams. I begin to envision this highly-strung he-man spotting a leggy woman in short skirt.  Buzzing after her he suddenly realizes her outfit is a duplicitous skort.  Costume disillusioned, he cries, "No wait, there's a seam!"

Don’t get me wrong, I am not completely unmoved by his pathetic plight. I can appreciate what a disappointment this hybrid garment must be to a certain segment of the population whose pulse quickens at the front view, men who assume a skirt does the full 360.  I am especially sympathetic to the dreadful flip-flops of emotion skirt chasers approaching from the rear must endure when they get a load of the front.  But I also wonder if, in the larger scheme of inter-gender relations, a skort is so cataclysmic.  Does it disorient as much as the tornado of a highly padded and gravity-defying Wonderbra whirling through the air on its way to lodging in the chandelier?   The tidal wave of a masterful makeup job liquefied and pooling on an early morning pillow?  No, the woman who wears a skort is still the very same, even if a man on the street can't determine whether she's heading to Laundromat or luncheon.

Who cares about the rear view of a skirt, anyway? It’s overrated, considering the multitude of flat-as-a-frying-pan bottoms out there and the way seat material tends to stretch and wrinkle.  At least a skort delineates a woman's derriere and keeps crisp where a skirt glosses over.   It must not be the rear view of a skirt that attracts my steamed associate but rather the idea that if he shares the company of a female in a short skirt he may be the recipient of a surprise gander.

In this regard, the skort pest is his very own pesticide. If men like my colleague weren't so absorbed with a hint of flesh or gleam of panty and then overspill their banks at the notion of a woman in a short skirt, maybe skorts wouldn't be so popular.  Women find skorts liberating precisely because of such puerile behavior. The garment’s extra coverage relieves the self-conscious vigilance of a woman in a miniskirt as she maneuvers to daintily walk, sit, bend and climb without unveiling her privates for every opportunist within eyeshot.

My corn-for-brains coworker wonders if women intend to be glamorous and sexy or functional and sporty when we don a skort.  But he is lost in the woods long before the issue of sexy or sporty mushrooms. A woman’s words and actions rarely take their meaning from a piece of fabric.

He took the wrong path when he chose to bemoan communication between the sexes.  With the amount of inauthentic paraphernalia in the feminine arsenal, skorts are hardly a prime assault on reality or communication.  The feminine propensity toward artifice doesn't nettle my critical colleague when a woman fakes nature’s bounty in a bosom, or streaks of the sun in her hair or its rays on her bronze cheeks.   Eager to accept superficies that make a woman appealing to him, he has no interest in how she manages it, nor does he while afternoons on the porch wondering what she means by it. The sticky skort, however, masks exactly what this fellow finds intriguing about a woman while revealing something much more mysterious: the beehive of complexity that exists in us all. We women expect and demand many things from a single moment of our lives while my black and white coworker prefers we keep our message to him simple. Sexy = available.  Functional = unavailable.

It seems to me that spectrum-challenged men like the skort hater have a lot more to worry about when it comes to the opposite sex than an extra seam.  Perhaps a skort’s extra seam separates the men from the boys – since it takes a seasoned man to fully appreciate a woman who employs artifice not only to be gorgeous, but comfortable too.

 

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This appeared in the Malaysian men's magazine Men's Review.

Launching Writer's Desk: A Web Tool To Organize The Writing Life

My software developer husband and I designed and built a new web-based writing tool. It was inspired by my experience as a freelance nonfiction writer. This online service provides a basic foundation for writers to get organized by recording revisions, tracking submissions, compiling market information and registering rights and income. For the past six months my husband and I have been designing and building a new web-based writer's tool. In this season of resolutions, we're happy to announce the launch of Writer's Desk, an online workspace to improve the way writers spend their time. We'd be honored if you pass the opportunity to colleagues and friends -- writers of all kinds -- who may have resolved to get organized this year.

SITUATION

Being a writer often sneaks up on a person.  Not many train for the vocation nor start with all the equipment, contacts, long view.  It's no wonder that eventually the snowball of success or dogged enthusiasm becomes an avalanche of produce - or expectation. Then buried writers inch along using outdated, poorly conceived systems to track work; repeatedly resolve to better keep writing in circulation; dream of one day expanding to new markets. SOLUTION

My computer scientist husband watched me -- a New York-based freelance writer -- function in this typical writerly way.  But unlike sympathetic others in the writing trade, he found observing me in action unbearable. So we pooled my professional nightmare with his software developing expertise to construct a website that has revolutionized the way I work and is too useful not to share with the wider writing community.

If you can operate a web browser anywhere in the world you can use this online service to simplify the logistics of being an active writer. Subscription is less than USD20 per year and while the site is optimized for the U.S. market, feedback from international users will help make it a global service.

FREE SUBSCRIPTION

Register for a thirty day free trial at www.writers-desk.com to judge if Writer's Desk improves your current method to:

  • Track writing objectives and submissions
  • Compile editorial guidelines and publishing contacts
  • Register rights granted, income earned
  • Trace the development and history of work - and more!

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We just opened it to the public as a subscription service.  You can find the creative and business workspace at  www.writers-desk.com

Writers use tools to *write* and tools to *sell the work*.  Writer's Desk is a bit of a cross between the two since it helps a writer envision her portfolio, both published and unpublished; encourages hierarchical thinking about projects and other writing ideas in order to more deeply develop material; offers a place to consolidate market contact information and notes; and helps track submissions, rights and income.

I can upload documents to the web service for retrieval on the fly -- and open and update my account from any computer with Internet access. So for me, logging on to Writer's Desk every day affords a quick overview of what I've done, what I must do today, what I plan to do and what I hope to do.

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A superb and versatile tool to manage song submissions and grant applications.

-- songwriter, Seattle, WA

Smart use of web technology. Finally I'm not tethered to my laptop.

-- journalist, New York, NY

Perfect for disorganized writers. Especially helps follow up with editors and agents!

-- novelist, Lawrence, KS

Portfolio overview is priceless. Great to develop new ideas, exploit material.

-- essayist, Des Moines, IA

Suits my purposes: developing scripts, tracking festival submissions.

-- screenwriter and director, San Francisco, CA

 

An Egg Salad Sandwich On The Red Line

A high school friend from California came to visit me the summer I graduated from college, back in 1986. We had been close out West, but suddenly it seemed my young friend was undirected in life, lost. I realized I didn't know what to do with her. She had put on some weight since I'd last seen her, and now she looked Hawaiian with her tanned skin and her flowered shirts. Shacked up in my six-floor walkup on Houston Street, she would lie in bed all day when I was at work, resting up for our nights out on the town, answering the telephone and taking incomplete messages. She had mentioned that it would be great if I could get her a job.

Trying to show her the ropes, but none too thrilled at the prospect of being saddled with her indefinitely, one day we headed uptown to a party. I didn't know how I would dissuade her from moving to New York on a depressed whim. Then the city provided the impetus.

It was hot on the train, one of those older red ones with the patchy linoleum flooring that slightly caved in when you stepped on a worn area. The car was half full, people sitting in their bubbled spaces, not looking at each other. But it was hard not to look at the one person standing by the middle door, holding onto the pole with one hand, and an egg salad sandwich with the other. He must have been 400 pounds. Shaped like Humpty Dumpty, his bulk was topped with a blue baseball cap, his pale face darkened with new beard growth. His brown eyes rolled upward as he took a bite.

Then without warning, he vomited. An arc of egg salad projected from him at least three feet into the center of the car. The amount he vomited must have totaled ten egg salad sandwiches, slop spreading in a diameter of three feet. It was a once in a lifetime event. My California friend blinked at him, her mouth opening in shock. The hardened New Yorkers on the train silently and swiftly got up from their seats and exited at the ends of the cars. No one looked back.

Then the man then took another bite of his sandwich and a gurgling noise escaped from my friend. I grabbed her arm and pulled her into another car.

The next day she apparently made arrangements to fly home, while I was at work, and when she left she didn't look back.

 

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This appeared in Jacquelin Cangro's The Subway Chronicles website and The Subway Chronicles anthology published in 2006 by Penguin

Invite To Beta Test A New Writer's Tool

As a writing friend or associate of mine, I’d like to cordially invite you to beta-test WRITER’S DESK.  This new web-based writer's tool was designed by my computer scientist husband after unbearably observing me in action. Too useful not to share, we soon plan to launch it as an online subscription service.  If you can operate a web browser, you can use this database software intended to simplify the logistics of being an active writer. An online centralized place to store and manage information to maximize your writing potential, WRITER’S DESK can help you:

TRACK SUBMISSIONS AND MONITOR PROGRESS

  • Identify publications and presses where your work is currently under consideration
  • Display a history of your submissions to a specific outlet
  • Distinguish agents and editors you’ve followed up with and their reactions
  • Map the exposure of different incarnations of your work
  • Register the rights granted and income earned on each project

 

DEVELOP YOUR WRITING GOALS

  • Brainstorm overarching project ideas
  • Pinpoint specific directions to go with your material
  • Note thematic patterns in your publication history to strengthen your portfolio or phase-out beats of little interest
  • Log unpublished or unused material and make plans to capitalize on it
  • Chart a publication path to your dream gigs

 

ORGANIZE YOUR RESOURCES

  • Plan well-received approaches based on editorial and submission guidelines of your target presses, publications, and editors
  • Compile, annotate and manage a database of publishing world contacts
  • Upload document files for access on the fly
  • Search your projects and files by keyword or word count

 

HOW TO BE A BETA TESTER

The beta test starts in October. During the test period, use the tool to its fullest extent to evaluate how it works for you. While using and in an exit questionnaire, share your impressions about any and all aspects of the tool.  (If you lack sufficient time or motivation right now, but want to be kept abreast of WRITER’S DESK developments, let me know by email before October 1.  I will be happy to notify you when we launch so you can enjoy the software at your own pace.)

In exchange for your active participation as a beta tester, I am pleased to offer the online service free for a year, with significantly discounted membership thereafter. A considerable additional benefit of being a beta tester is that later versions -- customized with your valuable feedback – may align not only with the way you truly work, but how you have always dreamed of working.

Interested beta testers, please email me by Tuesday, October 1 and let me know what computer system and version of IE or Netscape you plan to use.  Soon you will receive a detailed email with a link to the tool and the start date of the test.

Thank you for taking a moment to consider assessing WRITER’S DESK beta version, I appreciate it!

 

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Welcome to the WRITER’S DESK beta test.  Thank you for trying this new web service, your enthusiasm and sense of adventure are appreciated!  Here are further details of the test -- which begins today -- and a link to the tool.

CONTROLLED BETA

The test you are about to participate in is a controlled beta test, which means that it is not open to users beyond those who are initially invited. Any new accounts registered after the beta group has enrolled will be blocked.  Others will be able to try the system for free when we launch.

However, feel free to refer associates who might be interested in trying WRITER’S DESK in an expanded test.

SERVICE INTERRUPTIONS

Since this is a beta, we will regularly update the site, incorporating fixes and changes based on the results of testing and your feedback. An update takes about five minutes, but for now we ask you not use the site between 11:00 p.m. – 11:30 p.m. nightly.  If or when the schedule changes, you will be notified by email.  We will also alert you to longer updates.

SAFEGUARD DATA

Like all beta versions, the WRITER’S DESK software you are about to use is potentially unstable. While no data has been lost during development and alpha, we recommend you safeguard the information you enter in the tool by printing it out.  Also make sure you keep a copy of any documents you upload from your personal computer. The database will be backed up daily and transferred to a remote machine, but not the documents you have uploaded.

CONFIDENTIALITY

By participating in this beta you agree that you will refrain from sharing details -- large and small -- about WRITER’S DESK with anyone from the start of the beta period until we publicly announce launch of the service. We apologize if this goes against your communal grain. When we launch we would be more than happy if you mention the web tool to others!

BEING A TESTER

During the beta period, use the tool as often as you can and to its fullest extent to best evaluate how it functions for you. But also test its limits: don’t fill in every field or only partially fill a field.  Enter what you think might be bad data and see how the system reacts. DO ODD THINGS! If all goes as planned, you will know when the system fails when you end up on an error page, on which the path of the page that generated the error will be displayed.  But any other odd behavior should be reported. Let us know what happens to you, and while you work, share what you’re thinking by jotting observations and questions in the feedback form.  Which sections seem gratuitous, which are vital, what is missing?

EXIT QUESTIONNAIRE

When the beta ends, in an exit survey we will solicit your opinion on possible new features, based on our own plans for developing the service, and your feedback while testing it.

GET STARTED

Proceed to http://www.writers-desk.com. Register. Preview the Getting Started page, and you’re on your way!

We look forward to hearing what you think of WRITER’S DESK and thank you for your time.

 

Down Past Chinatown

"goeasylady" advises an obstacle gawker elbows outas resident struggles past bag-laden from far-off shops on my door knob hangs menu of local vendor "here to assist you" chirps ad listing scenes it cleans: crime trauma accident death looking forward to winter months in my cocoon now not so sure but rent reduced may help me save deep sleep will draw me inward and black velvet drapes with matching mossgreen tassels -- plus earplugs - make luxe this bright ground zero bedroom dusted windows a relief

 

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This extended haiku (called a tanka) about living in Ground Zero after 9/11 appeared in Small Spiral Notebook, September 2002.

Swing's The Thing

Calling all hepcats and righteous chicks! It’s time to jump, jive an’ wail: swing is in the air. That’s new millennial swing, a bracing rediscovery of America’s original art form – jazz music and dance. This retro movement is currently red-hot in frolic pads coast to coast to coast: from New York’s historic Webster Hall to the stylish Derby in Los Angeles, to the ultimate international swing mecca of Herrang, Sweden. Equal parts spirited partner-dancing, infectious live music, and suave vintage threads, the upbeat scene is fast becoming a turn-of-the-millennium pastime of choice.

The swing revival seems a lot like a time warp: on stage a zoot-suited bandleader reminiscent of flamboyant Cab Calloway prances in front of his honkin’ horn section waving a conductor’s baton, his watch chain drooping stylishly to the floor. On the dance floor exhilarated couples leap and shimmy, combining moves their grandparents once loved with the death-defying aerobatics of '90s extreme sports – maneuvers picturesquely dubbed Suicide Dip, Helicopter and Mop the Floor. Meanwhile over at the bar sweaty hoofers take refreshment, the women in upswept hairdos and billowy skirts, the men in fedoras, two-toned "Spectator" shoes and baggy pants held aloft with suspenders. Rounding out the fantasy cast of characters are ‘40s enlisted men in uniform joined by pin-up girls in seamed stockings; and ‘30s gangsters in double-breasted suits, their pin-curled, smoky-eyed molls in speakeasy finery. But this is no time warp: on closer inspection, the crowd sports pierced noses and tattoos, rainbow-dyed hair, mobile phones and digital watches. The music isn't strictly swing either, with rockabilly guitar licks and a drummer doing more than keeping tempo. When the band strikes up a particularly hoppin' jive, rested rugcutters scope for honey partners and quickly disappear into the roiling mass of limbs and hair and skirts and smiles.

Social, optimistic and tactile, swing is the new singles scene. The emphasis on manners, style and distinct gender roles make it the perfect antidote to decades of macho Rock, New Wave gender-bending and slovenly Grunge. However, pressure is high for would-be jitterbugs who need to collar those swift steppin’ moves -- or risk forever being a "Charlie", that is, a man who can’t dance. Lady newcomers on the other hand often find a willing tutor nearby or take advantage of each venue's complimentary professional lessons. Yet even the best instruction may not cure what ails swing’s dreaded "bunters": no sense of rhythm!

Swing is incredibly versatile, encompassing more than thirty cross-pollinated dance styles for every ability and musical taste. If the tricky rotating 8-count of the Lindy Hop and the fast 6-count of East Coast Swing prove too overwhelming, there’s always the bouncy, single step Jitterbug. Wallflowers do well with the Shim Sham Shimmy, a line dance performed in a group, or sultry West Coast Swing which meshes with slower country or blues music. Latin vibes best accompany Jive, while Shag steps are danced to beach music. Then there’s still the Susie-Q, Trucking, Boogie-Woogie and the Big Apple to master – and getting back to swing’s improvisational roots accomplished swingers often devise fancy footwork of their own.

The swing craze was originally sparked during the 1920s’ Golden Age of Jazz when Black Americans stomped the night away in New York City’s grand Harlem dancehalls like the Cotton Club, the Apollo Theatre and the Savoy Ballroom. Jazz giants Louis Armstrong, Count Basie and Duke Ellington entertained assemblies of thousands with the danceable, syncopated rhythms of "hot jazz”. Dexterous canaries like the legendary Ella Fitzgerald and Billie Holiday supplied finger snappin', scattin' vocal accompaniment. All-night dance marathons where hoofers and horn-players inspired and challenged one another soon led to the creation of swing's fundamental dance, the Lindy Hop -- a flurry of complicated footwork, dizzying turns and aerial flips.

By the '30s and '40s the scene’s momentum propelled it into mainstream American culture where it was featured on radio, phonograph and film. Re-named “swing", its harmonic sophistication, jungle rhythms and outlandish horns dominated the social milieu: from the lowliest Southern juke joint to the swankiest Northeastern nightclub to the most quintessential Midwestern high school prom. Dictionaries were produced to keep the avid public “hep to the jive” emanating from the swing world, with volumes alone culled from inventive Cab Calloway -- the electric Harlem bandleader famous for trademark hits like “Hi De Ho” and “Minnie the Moocher”. Meanwhile, the downtown smart set enjoyed history-making swing culture on the Broadway stage, courtesy of Tin Pan Alley composers Cole “Guys and Dolls” Porter and the Gershwins. Enduring tunes like “Rhapsody in Blue”, and “Summertime” from America's first opera “Porgy and Bess” are national treasures in the swing tradition.

No matter how many classics swing spawned, the movement refused to be set in stone. During the Big Band era, clean-scrubbed bandleaders like Benny “the King of Swing” Goodman, Glenn Miller and the Dorsey brothers transformed the spicy nucleus of swing into a stately, dignified event with up to 60 musicians at a time. The dances became codified and easier for the masses to master, while wild jitterbugging, the great-granddaddy of modern slam-dancing, was decidedly frowned upon. Later when World War II economics shrank the bands in size the rowdy quotient was purposely heightened by bandleaders like Louis Jordan and Louis Prima, who pioneered boisterous jump-swing, jump-blues and jump-jive. Bim bam baby, overnight rambunctious new dances cropped up. This wartime sound, heard in the Andrews Sisters' driving “Boogie Woogie Bugle Boy of Company B", laid the foundation for modern rhythm and blues, not to mention the musical epoch that ultimately eclipsed swing: rock ‘n’ roll.

Top musicianship and passionate innovation continue to characterize the latest crop of killer-diller swing bands, so it's no surprise they seamlessly incorporate a modern sensibility with a tradition dating back to the early part of the century. Fusing old jazz and contemporary rock, blues, punk, ska and rockabilly, groups with evocative names like Royal Crown Revue, Squirrel Nut Zippers and Cherry Poppin' Daddies are adding an exciting new chapter to the saga of swing. Today's neo-swing is in the groove, complete with fiery hot attitude and slang of its own. Big Bad Voodoo Daddy, the band credited with catalyzing the current craze by performing in the cult film SWINGERS, describes its explosive style as "high-octane nitro jive".

Making a splash in American movies, on television and radio, and sweeping around the globe, fun and fanciful swing is on its way to becoming a popular culture of epidemic proportions. Again. Swing's the thing, Daddy-O!

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This appeared in the inflight magazine of Malaysia Airlines.

Reading Survival Of Hollywood's Fittest At Victoria Rowan's Stories On Stage

Glad to be reading my writing in this series by my writing mentor. VICTORIA C. ROWAN is proud to present:

BEYOND WORDS: STORIES ON STAGE

LIKE ART LIKE LIFE: OUR COMPLICATED POP-CULTURAL RELATIONSHIPS ...

With this extraordinary talent: * Anastasia Ashman on the survival of the fittest in Hollywood

Darwin On The Red Carpet

Lights. Camera. Action! Good evening ladies and gentlemen, welcome to Hollywood’s finest locale. I’m the naturalist Charles Darwin; filling in for Joan Rivers, a superlative member of the entertainment world subspecies pseudofaba emaciata, if I may classify her myself. That ultra critical chickadee really knows how to test a border: Due to a daring Botox escapade, Joan will be back on the job –- more pseudofaba than ever -- as soon as she can blink.

Until then, fellow movie star lovers and biology buffs, this is our night! We’re here on the roiling red carpet at Los Angeles’ Kodak Theatre, ready to exalt the parade of sanded, bleached and recast individuals produced in this archipelago of entertainment. I’m a devotee of Hollywood fauna.

When I set sail for these latitudes, I tell my wife I’m headed to a laboratory of evolution accelerated to the speed of a paparazzo flash!

That gets me off the hook.

Think about it folks, some of the stars we’ll see tonight are naturals, summoned from the general populace by the mighty Kliegs. Others submit to a surgeon’s knife to acquire popular characteristics.  With the original population supplanted by the natural, artificial and sexual selection of show business, we end up with the pert beaks and powerful tails of Josh Hartnett and Jennifer Lopez! Lesser forms driven to extinction, the Tinseltown population is highly plastic. Traits like plush fur, supple limbs, and perfect pitch may be profitable to any number of species, but in Hollywood, they are just the baseline.

So let the Oscar expedition begin! There, over by the potted palm. Amid a gaggle of studio executive trophy wives, all a pre-nuptial size two: Do I spot Melissa Gilbert, the little prairie marmot who frets on an infomercial couch? I beg your pardon, a walkie-talkie marks that particular crooked mouthed plain-Jane as a functionary. Possibly an usher. One-hit wonders, or what we Hollywood naturalists term stagnalis trivialis when we remember them, would be barred from such a competitive environment. But they still might try to pierce better borders.

For Hollywood creatures, it’s in the blood to quest.

I say to my wife: Emma, when entertainers struggle to become rich and famous, that’s simply their naturally amusing method of hunting for food and mates. Their exposed environment allows the rest of us to enjoy their conspicuous survival of the fittest, with the threat of extinction nipping at their heels.

Look there, by the curb! Limos are starting to disgorge tonight’s cravenly careerist Oscar contenders. Who’s that coming this way? Someone hand me an eyeglass. It’s easy to identify a translucens crema from this distance, even if I can’t name the exact individual. Leggy clones answering nature’s casting call for cream puff actresses, it could be Denise Richards, Jennifer Aniston. They have done well to mate within the translucens subspecies, since spouses Charlie Sheen and Brad Pitt increase their probability of having soap opera-ready offspring.

I cannot match Joan’s bantam-weight standard tonight. I have yet to trap one specimen while many good and distinct subspecies are slipping by in the throng! Look there, a pod of wannabe alphalisters bobs and crests, riding the pressure waves in front of a larger and more impressive creature. See how they communicate, spurred ever onward by the high-pitched whistles and whines of Sandra Bullock, Renee Zellweger and Salma Hayek!

Statuesque Nicole Kidman is parting the crowd. Tinged Moulin Rouge, she’s stepping out tonight with the Broadway colony of ziegfeld multiperformata populated by high-energy Goldie Hawn, Shirley MacLaine, Gina Gershon and Vanessa Williams.

“Equity, I got Equity,” they trill to anyone who will listen, projecting their voices effortlessly over the din.

But this Aussie interloper has also been observed making a nest, alongside her countrywoman Cate Blanchett, in the A-list aerie of megastella diadema. With her flexibility and sheen, assertive Nicole has the proper genetic predisposition of an Academy member, in this naturalist’s humble opinion. Her ability to survive on seaweed could even spell success in the steamy Galapagos, alongside the best of marine iguanas!

A ruckus is undulating through the red carpet assembly. Who on earth? Good lord, take cover! It’s the vacuum-packed optima gloria Madonna, the only one of her type. With her harsh habitat and cold-blooded pace of evolution, prospective mates are left gasping in the dust. Notice how I allow her wide berth; this reptile is known for a nasty bite.

Here comes the most versatile creature in Hollywood, Will Smith. Swinging easily from home-boy to A-list without ruffling feathers or raising hackles, rubbery Will defies classification.

These days he’s floating like a butterfly and stinging like a bee. He certainly has nature’s vote, and mine!

Camouflaged in what appears to be a white cobweb, I discern the outline of bodacious blonde Pamela Anderson, mincing this way on her tiny feet. Her mirror of a mate, the smirking fedora-ed Kid Rock, trails with a posse of bubble-headed rock stars, male models and pro athletes. Is it a band of inanis abdominalis, or just Pam’s preserve?  She’s coming right at us; we may be able to get a closer view. I--I think she’s going to peck me.

No, Miss Anderson, I did not steal this frock coat from Russell Crowe, thank you for inquiring! As if I would dare test that coiled lion of a man. Naughty bird!  Science has tried to elevate subdivisum fornicatum -- specimens like Anna Nicole Smith or Carmen Electra -- to a higher caste, but invariably the experiment fails. Most dancers of exotic plumage persist in behavior better suited to their original territory.

Refined refreshment advances in the always elegant Natalie Portman, radiant in royal blood-red, joined by others from the nobilis magnificus flock, actresses from the better families and with degrees from the finest institutions of higher learning.

Raven-haired Jennifer Connelly, the ink on her pedigree papers still wet, glides by with impeccably subdued princess sisters Reese Witherspoon and Sigourney Weaver, and Gywneth Paltrow. These genteel swans are the souls of Hollywood discretion, all long necks and fine features and good diction. I predict the Academy will rush to recognize Jennifer’s graceful emergence within the erudite borders of a well-esteemed but sparsely populated flock.

The presentation hour draws near and even the watering holes are abandoned. Wait, I recognize a bouncy blonde duo. The 15-year old twins Mary-Kate and Ashley Olsen are fresh from the teeming warren of juggernautis pubescens, youngsters with entertainment empires. I will carefully approach these veteran bunnies, so as not to scare them! “We have to be in bed early,” sniffs Ashley, or Mary-Kate. “Not because we’re underage, silly! A board meeting tomorrow.”

In the distance, I spy Gosford Park nominees Dame Maggie Smith and Helen Mirren flying down the promenade, leading a siege of britannicum ingenium toward the empty lobby. Thank heavens, my fellow Britons have alighted at last, they simply dominate the nominations! Dame Judi, Kate Winslet, Sirs Ben and Ian bring up the rear of this huge assemblage.

Notice how their complex visages seem to map lifetimes.

The Queen and the Academy have recognized the cogency of their expressions, but I dare say Hollywood will resist being over-run by imports in tonight’s survival of the fittest.  Even so, Sir Ian’s intimidating traits make him the strongest britannicum in contention. Towering head and shoulders above the competition, this wizened creature can conjure a terrible force of nature when denied.

It’s showtime, ladies and gentlemen. May the fur and feathers fly!

 

Security State of Bloomberg

Not too long ago, an invitation to lunch offered a view of New York City's future. It looks secure, and rather loose at the same time. Since a good spot to meet and eat in midtown refused to present itself during a brainstorm, a member of a news service directed a friend to pick her up at the office.

"Welcome to Bloomberg," yipped an eager young fellow in a headset, lunging at the unprepared visitor stepping over the threshold of the new mayor's eponymous media company.

The keyed up greeter was one of several customer service sentinels strategically posted along the elevator bank on the 15th floor, the main reception area of Bloomberg's Park Avenue headquarters.

These chipper sentries mark the second stage of the organization's security gauntlet, their purpose to intercept and orient non-staff arrivals. Already, in a separate lobby downstairs, a phone call had been placed to the hostess, an ID check executed, and a pre-produced pass adhered to a jacket identifying the visitor and her official Bloomberg sponsor. After passing through an electronic sensing apparatus that read the badge and displayed its contents to a security guard, it was on to the elevator, no doubt equipped with a closed-circuit camera.

At the time no notice was taken, all thoughts on lunch and upcoming chitchat.

But jolted by Harry Headset into the present, or make that the future, noshing reveries swiftly ceased.

Given the controlled Orwellian setting that stretched behind him, Harry could easily have announced, "You are now entering the State of Bloomberg."

For this Bloomberg central command is certainly a state, of mind and being, with its well-defined borders, and its distinct cult of personality.

It's a Disneyland of Mike, the internal TV station projected on monitors in the glass-walled halls with floors lit from below, and a colorful kaleidoscope illuminating an interior glass stairwell.

"Right this way, have a refreshment," the zealous one's script apparently read, with direction to propel new arrivals toward a kiosk of refrigerated drinks and bowls of fresh fruit just past the lobby's freestanding cylindrical aquarium. The short leash implication was that moving about in any other fashion is discouraged. The visitor planted herself on the couch and waited to be rescued by an in-house contact.

A young staffer flitted by in patent leather, high-heeled shoes. Not just open-toed or sling backed pumps, both marginal head office taboos, but barely-there, day-at-the-beach, boudoir thongs. Nothing professional or urban about them. Apparently the sexy thongs were appropriate footwear (along with the rumored dress code of short skirts for women) for an ironclad outfit like Bloomberg.

A visitor cannot sit on the couch too long, unclaimed and banana-in-hand. After about ten minutes the greeter reversed his warm welcome, demanding "Who are you here to see exactly?"

Pressing his headset closer to his ear, he listened to an information feed of unknown origin and import, frowning.

The employee lunch date appeared, apologizing for her lateness.

"I had to go back for my ID badge," she explained, "I can't leave the office without it."

She meant this literally, as glass doors that operate like firewalls refuse to open without sensing the thing.

This photo ID badge has an open sesame effect other places, too. Due to the big man's hefty contributions to the arts, it affords free access to museums and cultural events all over the city. But the mysterious lack of the Bloomberg LP attribution has caused problems with its use in the outside world.

"The last museum I went to, they just stared at me when I held it up as my ticket."

Conversation temporarily halted during a quick pre-lunch trip to the restroom. No visible surveillance in here. But the volume of piped-in music in bathroom was so high it precluded speaking in a natural voice to another person, which must automatically cut down on intimate discussions of the latest in brazen footwear.

Word Play: Avant-Garde Poet Brion Gysin Resurrected

"I talk a new language. You will understand," Brion Gysin said in a 1960 poem, originally spoken into a tape recorder and then replayed for a London audience at the Institute for Contemporary Arts. Meanwhile onstage, the Canadian multimedia poet silently plied a large canvas with paint. "I will make a bow to the picture between your ears," he continued in the poem, composed from a collage of texts. Credited with pioneering the "cut-up" technique, Gysin proposed to liberate words. Among those who accepted his challenge: William S. Burroughs and Laurie Anderson.

Yet after existing on the bleeding edge of innovation for 50 years—prodigiously producing visual, written, and spoken poetry alongside the best in the surrealist, bohemian, and Beat movements—Gysin's written lingo faced extinction. Now, 15 years after his death, the publication of an unprecedented anthology, Back in No Time: The Brion Gysin Reader (Wesleyan University Press, $24.95, paper), revives his known body of literary work and showcases rare finds, like 1972's unproduced screenplay of Naked Lunch.

Arranged chronologically and annotated with a light scholarly touch by Brooklyn-based editorJason Weiss, the anthology amasses obscure pieces, historical scholarship, memoirs, songs set to music, and permutation poems, the widespread spoken recordings of which afforded Gysin a founder's rep in sound poetry. Precise mathematical rearrangement of text rather than haphazard collage, permutation poems were patterns of words liberated from their meaning, creating new meanings. Musical and relentless, the poems' influence can be heard in the repetitive compositions of Philip Glass.

To get Gysin's newly collected writing off the page and back into ebullient performance, the Poetry Project will present a late-night reading curated by 31-year-old multimedia poet Christopher Stackhouse. Artists lined up to spout Gysin's psychic adventures and aesthetic provocations include video maker Marshall Reese, printmaker Terry Winters, and poet Pierre Joris. Stackhouse's own foundation in spoken-word poetry has spurred visual work paralleling Gysin's later forays into "Calligraffiti" (language transformed into pure image, brush strokes approximating Arabic and Japanese calligraphy). If the mere look of Stackhouse's poetry introduces a new vocabulary, Gysin, wherever he is, surely would savor his sound.

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This appeared in The Village Voice, December 4, 2001

Emerging Artist Curates His Influences

"I just discovered this cat a month ago," admits Poetry Project curator Christopher Stackhouse. He's referring to Brion Gysin, the avant-garde artist whose newly anthologized 50-year career he will highlight December 7th.

The rangy, 31-year old African-American artist, polite in a blue oxford shirt and subversive in open-toed sandals this cold October day, shifts on his girlfriend's futon couch, enthusiasm undampened by the admission. A broad-headed white dog at his feet keeps sleeping.

A privately-taught multimedia poet from Grand Rapids, Michigan, Stackhouse is a quick study and has no doubt that a gem has dropped into his event-coordinating lap. As presenter of the Friday Night Series of the Poetry Project's 35th season in St. Mark's Church-in-the-Bowery, he's charged with bringing established, multidisciplinary poetic talent to the public from October 2001 to May 2002.

His particular mission --closely instructive to his own passion as an emerging figure on the New York underground arts scene -- is to illuminate and explore the shared poetics of filmmaking, music, visual arts, and the written word.

So the discovery of Gysin is topical kismet for Stackhouse, since the cat at hand is not only the subject of a December publication ( Back In No Time: The Brion Gysin Reader, Wesleyan University Press), but was categorically made for an East Village reading. The Canadian poet-performer-painter's impeccable bleeding edge credentials include being a Beat collaborator of William S. Burroughs in Tangier, and the Bohemian associate of Picasso, Dali, Man Ray and Gertrude Stein in Paris. Deemed an innovator of sound poetry, Gysin was especially interested in getting it off the page and back into ebullient performance.

With talent bookings by anthology editor Jason Weiss, newly-in-the-know Stackhouse will host a late night reading by multimedia performers of all stripes. Videomaker Marshall Reese, printmaker Terry Winters and poet Pierre Joris will join others spouting an unprecedented collection of Gysin's psychic adventures and aesthetic provocations in a cozy ("we've only got 75 chairs") lecture hall annex of the landmark chapel.

While Stackhouse moderates the show and manages the physical operations, supported by three interns and a sound engineer, he'll most likely absorb, absorb, absorb. The Gysin event promises to be a valuable experience for the young poet, who candidly describes himself as "living by his wits," diverted by day with a succession of jobs like editor, film grunt, file clerk, web content producer and art handler in museums.

Even so, spoken word poetry has formed the foundation of his artistic career. Over the past five years, Stackhouse recorded several poetry collections set to syncopated music and sparse, harmonic, computer-generated voicings over polyrhythms, like the Black Market Records/MCA International release The Beauty Of Celeste. Stackhouse frames the recordings as "the aesthetic antithesis of late twentieth century rap, or hip-hop," however much rap provided the inspiration.

Those recordings are in large part what led him to be tapped as a symposiast in the Poetry Project's 1998 "Blues, Hip-Hop, and Identity" and the "Spoken Word, Poetry, Electronic Music" symposium at the Tribes Gallery in 1999. In addition, Ed Friedman, the artistic director the Poetry Project, claims the multimedia poet's conviction that "artmaking should be a multi-genre, multicultural, political, philosophical and historical undertaking," made him a natural choice to curate the late night series.

Despite his oral strengths, the multifaceted Stackhouse submits a good case for putting poetry back on the page, especially when he breaks out the pigments and brushes. Recent works have focused on transforming language into pure image, much the way Gysin did, when he produced paintings suspended between word and image, brush strokes approximating Arabic and Chinese calligraphy. Allowing the mere look of language to dictate its meaning, Stackhouse muses that his own work is "art as notion, as opposed to actual materials. Art for the mind."

His brushy text-based ink-on-papers shown by Gale-Martin Fine Art earlier this year led NY Arts Magazine reviewer Susan Kart to think of "the wall markings made on caves by early humans," while Kevin Platt, director of the gallery and Stackhouse's dealer of two years, cites a parallel to the output of Belgian-French artist and writer Henri Michaux, another influential figure Stackhouse recently recognized. Having sold 25 of Stackhouse's works Platt describes a fascination with the elements of calligraphy created by someone proficient in both written and visual media. "It's as if Christopher's introducing a new vocabulary," the South Chelsea dealer says.

In a sky lit Sixth Avenue living room, a matted and framed set of four pen and ink portraits hang over the Stackhouse girlfriend's futon couch.

The artist waits for an interpretive reaction.

The linear male heads drawn on a ringed pad of paper, top edge ripped, seem like coffeehouse sketches. Staring, cobwebbed eyes have a circular mole placed between them, just like the one Stackhouse has in real life. (A third eye, or just a mole? Stackhouse laughs, "Yes, a third eye.") Vertical lines intersect the serious faces, drawing down from the eye like a monocle chain.

"Tension," prompts the artist, the tension between opposites. Opposite views, opposing urges, perhaps? Two of the heads sport an X on their foreheads: representing the mark of man, explains Stackhouse, the mark of pre- or illiterate man.

"Like the signature of a slave," he adds. Or perhaps that's the former signature of a former slave?

Stackhouse seems distinctly inclined to explore the de-evolution of expression. As a literate artist, he often spurns his ability to write by making marks on paper that look like writing, but somehow aren't, and then he would mean something by them. Gysin would be proud, and given the social context, so too might James Baldwin. Baldwin is one cat Stackhouse has already discovered, at the age of nine when the family relocated to Cambridge, Massachusetts. Stackhouse's Virginian father "traveled with Jimmie's entourage as secretary and friend from 1979 to 1983," and Baldwin's political and social theories pervaded the household. For three years Stackhouse has honed his own expressions of being Black in America as a Fellow of Cave Canem, a 35-year old organization providing retreats and workshops for African-American poets.

A knock at the apartment door reveals a workman in an indeterminate uniform, inquiring about the origin of a water leak discovered downstairs.

"There's no sign of it up here," assures Stackhouse. Yet the soft-spoken poet knows full well that discovery is part and parcel of creation, and it's just a matter of time before the source of a well-spring is identified.

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A version of this profile appeared in The Village Voice, December 2001.

NYC's Elevated Drama

It’s after five on Friday and I have pleasing, twenty-something plans for the evening.

Judging from the look of Larry, a diminutive agent at the literary agency where I am director of operations, he does too. A tanned, old-school publishing guy, he’s a middle-aged romantic, known to still hold his handsome wife’s hand in public.

We arrive at the elevator in superb spirits. After I press the call button, Larry and I glance at each other and smile. With my black downtown jumpsuit and his Upper East Side tweed, it’s apparent we’re heading for different worlds.

When the elevator arrives, I try to lock up, being last on the floor tonight. "Can you hold that a minute," I ask the lone man inside, as I insert my key in the security gate and flick off the hall light.

But the passenger in the lift, a tall curly-haired man in a black leather jacket, abruptly presses an internal button and snarls, "I can’t wait, I’m meeting someone."

The heavy doors begin to rumble closed.

Larry and I jump to call the elevator again, pulse quickening for a confrontation.

The doors shudder and reverse, the stranger’s pocked face reappears.

The agent firmly steps into the carriage and then holds the door for me while I hoist my bags.

"You only have one floor to go," the elevator man whines in exasperation, as if being one floor above street level makes the thing return any faster, going the right direction at rush hour.

We have no other option since the stairway is locked as usual.

Without a thought, I reply right into the man’s face. "So do you, bud." He has only one floor to go before he is free to pursue his precious appointment, it is true. But rather than instilling some kind of rationality, this ignites a rant about my snotty choice of words.

"Who do you think you are talking to me like that?" he demands, peppering the question with expletives. In the airless car his venom is inescapable. Larry and I press ourselves up against shiny steel walls, gaze averted.

Though it's only a few seconds, tonight the ride seems like an eternity. Then the man attacks what he must consider the jugular with a socioeconomic insult.

"Low rent," he declares, voice thick with condescension.

He is referring to our company’s status in the building hierarchy.

The upper floors in this Gramercy building are monopolized by fancy businesses in the music and fashion trades, with huge view windows and smart furniture.

Down here on two, the space has been compartmentalized and our small back office, crammed with bookcases that sag under the weight of unsolicited novels, looks onto a dingy light-well.

Unused to considering the relative prosperity of my employer, I am baffled to learn we are bottom-rung.

Larry takes offense, perhaps because he’s toiled for decades in world-class publishing organizations and has internalized the prestige of association regardless of traditionally shabby surroundings.

Or, because he’s read a lot of boilerplate romance novels and understands what is required by the chivalrous in these situations.

He invites further confrontation, demanding that the man repeat himself.

"Do I have to spell it for you," the curly headed man spits.

Not only do we work on an inferior floor, apparently we are too dense to comprehend why he despises sharing the elevator.

"LOW RENT!"

But Larry and I don’t need much spelled out, except why this guy wants to force the class issue. With his oily hair and pale, scarred skin he looks seedier than we do.

The lift comes to a stop and Larry passes me his folded newspaper.Snotty damsel who instigated this mess, I clutch it purposefully.

The doors slide open and five-foot-two-inch Larry, deliberately genteel, suggests to the stranger, "Let’s step outside."

I have to suppress a giggle. The timing is too perfect. But the incensed man isn’t interested in a gentlemanly duel and stalks ahead of us, bellowing obscenities in the dark and echoing marble lobby.

My dogged co-worker follows and yells from the lobby entrance, "Prick! That’s what you are, a prick."

I well up with pride that affable old Larry has mustered an appropriate term for the altercation. This must be how he talks in the locker room at his chi-chi athletic club.

The creep is crossing 25th Street and launches a final threat over his shoulder. "If you were twenty years younger."

He allows the sentiment to trail into ridiculous silence. Fury deflated, he doesn’t care about us anymore. His appointment must be looming, most likely with someone who has yet to cross him in pursuit of uninterrupted elevator passage.

But sparkplug Larry isn’t finished. He responds loudly, arms open.

"Here I am, come and get me!"

The elevator man skirts the Armory wall and disappears around the corner at Lexington on spindly legs, a hyena chased from an honorable fight.

The world comes back into focus. People in the street watch for a cue as to what’s next.

Nothing's next.

I return Larry’s neatly folded newspaper and we begin our routine stroll toward Park Avenue.

"I love New York, don’t you?" he says, looking invigorated and alive.

"It’s a beautiful evening," I reply, gazing up at the pink sky.

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This appeared in Mr. Beller's Neighborhood, January 2, 2001

A Colonial Tale Of Vengeance & Deceit

(This appeared in the Asian Wall Street Journal, January 2000) Review of MURDER ON THE VERANDAH: Love and Betrayal in British Malaya by Eric Lawlor, 260pp, published in 1999 by Harper Collins Publishers, 77-85 Fulham Palace Road, Hammersmith, London W6 8JB.  L17.99

In Kuala Lumpur in 1911, an adulterous British woman shot and killed her cheating lover, scandalizing the town and sending reverberations throughout the Empire.

Now her shocking behavior -- famously fictionalized by W. Somerset Maugham in his 1926 short story "The Letter" and portrayed by Bette Davis in the 1940 Hollywood film -- is examined in an entirely new and perceptive light, at once sympathetic to the Eurasian murderess and damning to the rigid Eastern protectorate in which she found herself captive.

Although Eric Lawlor's Murder on the Verandah is ostensibly the true story behind the notorious Ethel Proudlock case, within a few chapters his account morphs into a withering social history of British Malaya. For prurient interest, especially to residents of modern Malaysia, it doesn't disappoint.

However, Proudlock herself remains a cipher in spite of Mr. Lawlor’s admirable (albeit hypothetical) efforts to flesh her out. Unable to procure even one likeness of the woman, the author instead is pressed to supply photos of clubs, activities and locations which have only peripheral bearing on her story.

It is understandable that Ethel Proudlock was actively erased from the lives and memories of those who knew of her.

In race- and class-conscious British Malaya at the turn of the twentieth century, Proudlock appears doomed from the beginning.  Mr. Lawlor surmises she was born illegitimately to a low-ranking Briton and a native woman, then treated coolly by her father's European family, and hastily married in 1907 to the undistinguished and naive young teacher, William Proudlock.  Ethel was most likely pregnant with her only child at the time, born on the honeymoon trip to England.   "So much in her life reeked of deceit," notes Mr. Lawlor.

Even though she was a minor figure about town and dogged by ill-health, Proudlock apparently dreamed of being noticed: she was both a clotheshorse and an aspiring actress.

These qualities cannot have been rewarded in a society which had recently traded in its freewheeling pioneer atmosphere for a distinctly suburban, timid conformity.

"Malaya no longer felt like Malaya," was the nostalgic lament.  "It had been domesticated, and where once tigers had roamed, now there were tennis courts and cricket creases."

Racial purity was also being increasingly emphasized, with nascent movements to exclude Asians from the civil service and to segregate train cars.

In this climate, Proudlock’s mixed bloodline would have resulted in further ostracization.

When Proudlock's audacious actions finally captured the ultimate limelight in her murder trial, "people who saw her on the witness stand remarked on how self-possessed she looked."

She enjoyed playing an upright woman who had killed defending her honor, as she claimed William Steward attempted to rape her.  Only when sentenced to hang for the murder of the tin mine manager did she lose her composure.

A debate raged in both England and Malaya over the virtues of the case and her supporters looked for a way to reverse the decision.  It was mostly a matter of appearance, however, as the British liked to believe they cut exemplary figures in Malaya.

Eventually she was pardoned by the Sultan of Selangor and exiled to England. If the shame weren't enough, her husband's public denunciations of the trial proceedings effectively ruined him too.  He was forced to resign as headmaster at the Victoria Institution and his inquiries were rebuffed ever after by the Colonial Office in London.

Murder on the Verandah succeeds as a masterful negative-space account of the woman and her vengeful crime, supplying us with context,  the pressures and the expectations under which Proudlock and her husband must have labored.

It also paints the portraits of a large cast of characters who lend their thoughts and life experiences to Mr. Lawlor's points: among them newspaper editors, estate managers, civil servants and their wives.

Mr. Lawlor's dark perspective specifically vindicates Maugham's acerbic view of Malayan planters and district officers, even though Maugham’s unwitting subjects uniformly insisted that they had been defamed.

The revealing retrospective continues through a host of ills suffered by the British in Malaya, as well as the hardships of Asians at the hands of their insensitive British masters.  Exploring the cruel indentured servitude of Tamils on rubber plantations and the perception of Chinese rickshaw pullers in town, Mr. Lawlor exposes just how alienated the British managed to make themselves.

So unnerved at surrendering control even for a short ride across town, they believed a rickshaw puller "used the opportunity not just to avenge every wrong he had suffered at their hands, but to avenge as well every wrong done to every member of his race."

Paranoia, perhaps.

Yet, as Ethel Proudlock knew to her core, revenge is the province of the dispossessed.

What Killed The Dinosaurs

(Adapted from a permanent multimedia exhibit I wrote and produced for the Malaysian Ministry of Science's National Planetarium in Kuala Lumpur, under the supervision of  astrophysicist Dr. Mazlan Othman who now heads the United Nations Office for Outer Space Affairs in Vienna.) For millions of years, gigantic reptiles ruled the third planet from the Sun -– our home, the Earth. With each stride, the ground shook beneath their feet. The swampy air was filled with their monstrous trumpeting and reptilian cries. And then suddenly, mysteriously, the Age of Reptiles ended. Why? In search of an answer, the story of the dinosaurs will take us on a journey deep within the crust of the Earth and far, far into outer space.

Dinosaurs appeared 225 million years ago. It was during the Triassic period, when all the continents were joined together in a supercontinent called Pangaea. The climate was hot and swampy, just the way the dinosaurs liked it. Being cold-blooded creatures, they needed high temperatures to warm their blood. They flourished through the Jurassic period and on in to the Cretaceous, evolving from turkey-sized Thecodonts to the largest animals ever to live on land. And then, around 65 million years ago, they disappeared from the face of the Earth. Why did they all vanish at the very same time?

Extinction is an integral part of nature, making way for more viable life forms. Several mass extinctions have occurred over the ages, but even so, scientists can only guess at their causes. Perhaps the dinosaurs were affected by a climate change, when the continents began to break apart and drift toward the North and South Poles. Cooler temperatures would have made them sluggish and less able to hunt for food. A new climate would have changed the whole ecology of the Earth, like bringing new plants which might have been poisonous to the dinosaurs. Plankton, the simple sea organism which use the Sun’s energy to produce oxygen, are known to have become extinct at the beginning of the Cretaceous period. Maybe the dinosaurs had trouble breathing in this new environment.

Or, perhaps the answer is not on land or sea. Perhaps it is not even here on Earth. Since the beginning of mankind, we have gazed at the heavens, looking for answers. Prehistoric man noticed that certain celestial bodies move in orderly and predictable paths, and astronomy (the study of the stars) was born. Although an ancient science, it continues to yield new discoveries.

One astronomic explanation is that a star in a nearby constellation exploded, creating a supernova. This would have bathed the Earth in deadly cosmic rays.

Another theory is that the impact of a giant meteor striking the Earth could have caused the sudden extinction. Meteorites, which are space rocks, orbit millions of kilometers from Earth. A planet’s gravitational force might alter their usual path. Enormous craters are proof that meteors have struck the Earth in the distant past, sending dust and debris into the atmosphere. This would have blotted out the Sun’s rays, dropping temperatures and killing plants and animals alike. Or, asteroids, minor planets, could similarly strike the Earth when knocked out of the asteroid belt that orbits the Sun.

It could have been a comet. Mostly dust and ice with a sprinkling of rocky and metallic materials, comets orbit outside the solar system in the Oort Cloud. When a comet comes close to the Sun, the ice evaporates and forms a tail containing ash and gases. Some tails are up to 150 million kilometers long. The Dutch astronomer who gave his name to the Oort Cloud, Jan Oort, thought a comet was responsible for the dinosaur extinction. Oort thought comets entered the inner solar system when disturbed the gravitational force of a nearby star.

What star could disturb the comets? One is Nemesis, the Death Star. A faint red star, it is believed to be the Sun’s companion star even though it exists outside our solar system. Moving in an elliptical orbit, when it approaches the Sun it passes through the Oort Cloud, hurling comets toward Earth. If Nemesis orbits every 26 million years, then perhaps it is the cause of the regular mass extinctions on Earth.

Or maybe the cause is Planet X. Planet X is a tenth planet that may exist on the outer reaches of the Milky Way. When the Sun orbits the galaxy every 33 million years, it oscillates up and down. This may cause far off Planet X to disturb the Oort Cloud with each oscillation, heightening the probability of cometary disaster here on Earth.

So far the strongest proof that the dinosaur extinction was caused by something from outer space lies deep in the Earth’s crust. Geology, the study of Earth’s history, may offer an answer. Every layer of the Earth represents a period of time, and holds clues to the events of that age. American geologist Walter Alvarez noticed that there was an unexpected presence of iridium in the same layer, all over the world. The rare metal, from the Latin word meaning “rainbow”, appeared in the layer that represented a time 65 million years ago. That was when the dinosaurs became extinct.

Walter’s father was a Nobel Prize-winning physicist named Luis Alvarez. Walter told his father about the iridium, and the physicist theorized that it came from outer space, since space rocks are full of the metal and earth rocks are not. An explosion would have cast the iridium into the stratosphere, allowing it to settle on Earth in the consistent layer Walter Alvarez discovered. It might have been a meteor, or the collision of a comet, which is more common. Finally, we have solid evidence that the extinction of the dinosaurs has an astronomic cause.

Career Girl At Age 8

At the age of 8, my three favorite activities were:

  1. driving my car (which was actually a bookcase with a cardboard steering wheel taped to it)
  2. to a "French Lady" tea party with my sister (where all conversation was spoken with some kind of fru-fru accent)
  3. and then back in the car to my office where I shuffled papers, filled in some outdated, discarded forms we salvaged from a Dumpster somewhere, and sent and received mail with my sisters who were in their offices, for hours on end.

Playing with dolls was not a major occupation. I was a career girl!

 

That year for my birthday, I got a baby doll (the kind with the big bald plastic head) from my aunt back east who didn't know me at all.

Eerily foreign, I didn't know what to do with it.

Should I take it in the car to my tea party and to the office?

A baby had no place in my life.

Mimicking The Fireflies: Kuala Lumpur By Night

Anastasia Ashman in GOING PLACES for Malaysia AirlinesIn most parts of the globe the setting sun signals a natural winding down of the day's activity in preparation for rest and renewal.  As the sky darkens and shadows grow, tucked-in babes embark on dream-filled journeys.  Although no early-riser, often I am not far behind.  Yet in sultry, equatorial Kuala Lumpur, or KL, I find it just the opposite. At twilight both I and the city seem to awaken from our heat-of-the-day slumber, refreshed and full of plans. And my fellow bedtime buddies, young boisterous children, are seen and heard at KL's nighttime establishments, accompanying their families as they all partake of the temperate breezes.

Many others seem enlivened as nightfall offers its welcome change to the heavy tropical air.  The sound of electric generators and motorbikes add their man-made whine to dusk's cacophony of enduring inhabitants: the cicadas, bats and bullfrogs.  Just as the forest has its set of nocturnal creatures, so too does KL's city-within-a-jungle.

While city-slicking, storm drain-dwelling bullfrogs make their amorous presence known at twilight, energized Malaysians begin their zip around town. Checking the air for signs of a cool current, pedestrians emerge from the steelwork of office buildings and exhibit a new briskness of step on the illumined streets.

Meanwhile, veteran teksi drivers and suburban commuters alike leave a swift streak of red tail-lights in their wake, inspired less by the dropping temperature than evening's empty stretches of road, a rarity during sluggish, traffic-logged daylight.

KL's night shift shows its face: packing the sidewalk restaurants and coffee shops, and thronging popular pasar malam night markets.   In narrow alleys, deserted parking lots and commandeered thoroughfares like Chinatown's Petaling Street and Bukit Ceylon's Jalan Alor traders begin a ritual.  Vans and lorries are unloaded, makeshift tables and generator-powered lights assembled, wares laid out to best advantage. As fire is lit under a hawker's huge wok, stirred chili padi peppers release their arresting oils, contributing an acrid accent to the city's medley of night scents.

Is that a whiff of durian I smell, the swamp gas King of Fruits?

Elsewhere in the low-rise shadows, delicate night-blooming jasmine wafts on the breeze, a chance treat from tended but unseen garden pots cluttering tiny urban balconies.

When I ramble through the dusky streets, taking in the sights and smells -- and an unexpected bowl of Hokkien prawn noodles, for no Malaysian excursion is complete without an unscheduled food stop -- I often become engrossed in a miniature nighttime ballet. Close to the dazzling night lights, there gather flurries of flying insects, reeling from the amperage of KL's street lamps shining brighter than the jungle moon ever has.

Omnipresent and waiting nearby are their foes, the predatory and gravity-defying cicak lizards. A small taupe one advances with measured steps, sometimes to battle for territory with its fellows, other times to corner a fluttering, light-stunned prey.  Then sated and heading home over a backlit acrylic shop house signboard, the lizard's transparent skin reveals its inner-workings.

Yet KL's real nighttime spectacle takes place on a grander scale, one best viewed from a passing car, or a skyscraping lookout. A perfect vantage point graces Bukit Nanas Forest Reserve in the heart of the city's Golden Triangle district, the Telekom Tower.  This third-tallest radio spire in the world offers a sparkling panoramic view of the Klang Valley, complimentary with a tasty dinner.  The reverse prospect isn't bad either with the pale mauve edifice a visual triumph in its own right, observation decks glistening like gems in a jeweler's setting.  At its darkened base, high-rent monkeys doze in their precious parcel of virgin forest.

Nearby, the fashionable pylons and sky bridge of the world's tallest structure, the Petronas Twin Towers, blaze as they pierce the clear night sky.  The KL City Centre monument is awesome at any distance, yet its height is most unfathomable when one looks up from the sprawling park at its foundation.

But look up I must, until a crick in the neck and the park's ground-level features seduce me away.

A favorite gathering place in the evenings, the clean wide esplanade offers the perfect runway for a popular tropical evening institution: after dinner strolling cum people-watching.  The humanity spectrum is broad here, with business people from the surrounding corporate neighborhood still crisp from their office work; perfumed shoppers laden with packages spilling out of the glittery Suria KLCC mall; and sightseers from nearby kampung villages and far off countries, drawn by the world famous landmark, like moths to a flame.

Meanwhile, the jogging pathways meandering through a grove of replanted ancient trees attract courting couples who cease their sweet nothings to admire the ever-morphing fountain sprays and attendant laser show.

Across town at the convergence of the Klang and the Gombak rivers, what is the birthplace of Kuala Lumpur, stands a glorious nighttime exhibition of more human proportions.  Bounded by a procession of colonial buildings full of both history and life, Dataran Merdeka, or Independence Square, has long been a beloved circuit to saunter of an evening, as well as a chosen site for national gatherings.

Taking a turn around the padang field, I soak up the historic mock-Tudor Royal Selangor Club with its raucous, patron-brimming Long Bar.  The Club's wide verandah looks out onto its famous cricket field and beyond that, to the fanciful domes, arches and spiral staircases of the Sultan Abdul Samad courthouse.  Stunning during the day, at night the eclectic Indo-Arab details of this 1894 justice building are transformed into a three-dimensional wonder of light.

The Moorish architectural influence continues downriver, where the fantastic and light-hearted 1911 Railway Station is a feast for the eyes.  Cupolas, turrets and keyhole arches are so reminiscent of a childhood carnival ride I half expect a little train to rocket through the arches, filled with squealing people.

Nearby the appealing lattice work high-rise Kompleks Dayabumi provides a twentieth century translation of Islamic design while the nation's site of worship, Masjid Negara, sports chic international style architecture.  And overlooking everything from the Lake Gardens hill above, the National Planetarium echoes the mosque's color scheme, its blue dome and white observation tower peeking over the tree-tops.

Yet further downstream on the outer edge of the city there awaits a most meaningful nighttime phenomenon.

Fronting the King's Istana, the official seat of Malaysia's royal ruler, techno-festive strings of lights dangle like ethereal tendrils from the broad branches of tall and seasoned trees.  In a moving and masterful embellishment, the city fathers here seem to mimic the cascading roots of nature's mighty banyan -- and the incredible, magical blazing created when forest fireflies gather by river's edge. The tribute is palpable. Behind its gilded portal, the golden palace gleams in silent, awestruck reflection of a brilliant equatorial moon.

This rejuvenating starlit experience will redeem me tomorrow when I oversleep the chilled and dewy dawn.

+++

This appeared in Malaysia Airlines' inflight magazine GOING PLACES.

Nyonya Cuisine For Far Eastern Economic Review

This appeared in the Far Eastern Economic Review magazine May 21, 1998 Fabulous Fusion

Jonkers Melaka (17 Jalan Hang Jebat, Melaka, 06-283-5578) Bon Ton (7 Jalan Kia Peng, Kuala Lumpur, 03-241-3614 or 241-3611) Bon Ton At The Beach (Pantai Cenang, Langkawi, 04-955-3643 or 955-6787)

T he multiculturalism of Malaysia can be downright delicious, if you know what to look for. After sampling the country's superb Chinese, Malay and Indian fares, turn your attentions to Nyonya, a definitively indigenous cuisine, which, like all good secrets, delivers a rich reward.

A scarce but savoury vestige of an illustrious Malayan sub-culture, the Nyonya culinary tradition rates among the country's most creative. Complex, labour-intensive Nyonya dishes spring from the Peranakan, born in 15th-century Malacca when Chinese traders married local Malay women (Nyonya). Although their offspring identified themselves with the Chinese, many of their customs mixed the best of both traditions. Chief among these was their food, which some describe as Chinese in spirit and Malay in form, with ingredients dictated by Chinese tastes (and religions), while the spices and preparations are traditionally Malay.

This cultural fusion explains why chillies, cinnamon, pungent roots and grasses, tamarind and coconut milk have found their way into dishes with such stolid Chinese staples as pork, mushrooms, soy sauce and bean curd.

Towards the end of the 19th century, the Peranakan culture reached its pinnacle both in Malacca and in the other British Straits Settlements of Singapore and Penang. Genteel communities of Straits Chinese flourished in ornate terrace houses, their marble-topped tables laden with unique concoctions prepared by the Nyonya and her legion of servants.

Revelling in high-calibre culinary artistry, Nyonyas refused to cook simple Chinese dishes like fried rice, proclaiming it too easy. This feisty and hybrid tradition is highlighted at a trio of stylish eating establishments in Malaysia which specialize in the blending of cuisines.

With three exceptional locations and one highly inventive owner, the decade-old Bon Ton restaurants have inspired gourmet pilgrimages among their clientele. For, while the venues share many aesthetic characteristics, along with gift shops and links to the local arts community, they stand alone in their singular settings and menus. All excel with innovative East-West fusions, including astonishing desserts--and have played an important role in rescuing from obscurity old-style Nyonya dishes. The uncommon recipes were provided by the copious culinary memory banks of two Malaccan Nyonyas, one a descendant of the Jonkers household.

Jonkers Melaka, located in an exquisite 90-year-old Nyonya house in the heart of historical Malacca, is an ideal spot for refreshment during a day spent pounding the pavement in search of antiques, the oldest Chinese temple in Malaysia or the replica of a Portuguese man-of-war docked nearby.

Initially you'll be stunned by the naturally cooling features of Peranakan architecture until you dig into the current week's medley of Nyonya favourites. Dry curry-beef rendang provides a sweet counterpoint to fern tips or hollow-stemmed morning glory stir-fried in ubiquitous prawn paste sambal belachan (which raises a heavenly stink while cooking, eventually settling down to an inimitable fiery fishiness). The lemongrass chicken is wrapped in the extensively used pandan, or screwpine leaf. Acar, a zesty chutney of crisp cucumber, onion and pineapple, edges a mound of delicately flavoured coconut rice nasi lemak.

Bon Ton in Kuala Lumpur is a society favourite. Housed in a latter-day colonial bungalow in the heart of the city's Golden Triangle district, the restaurant boasts a comprehensive wine list in addition to theatrical, teak-furnished dining rooms.

A good bet is the broad-spectrum Nyonya Special, which includes charming Top Hats (deep fried pastry baskets filled with shredded yam bean, carrot and prawn with a hot and clear dipping sauce); prawn and mango curry; mutton with potatoes; and a piquant braised eggplant alongside nasi kemuli (cinnamon-tinged Nyonya wedding rice). Finish with the oddly comforting and old-fashioned bubur cha cha (cubed yam and sweet potato, white beans and bananas in a warm gravy of coconut milk).

Bon Ton At The Beach, a romantic open-air restaurant, is the hottest dining destination on the legend-rich resort island of Langkawi. A field of windswept coconut palms and beach chalets of century-old Malay timber houses surround the restaurant; hurricane lamps illuminate it as ocean breezes grow brisk after sunset.

The exuberant laksa lemak (yellow noodles in a spicy coconut soup, topped with chicken, prawns, ginger buds, cucumber, omelette and red chilli) should leave you just enough room for dessert. Your choice ranges from the classic cendol (a mountain of ice and coconut milk burying kidney beans, palm sugar and the neon green pandan noodles) to decidedly avant-garde East-West confections like the coconut cream caramel adorned with mango and ginger glass biscuits.

 

Law Of The Jungle: Milquetoast In The Malaysian Suburbs

I may live in a plush suburb of Kuala Lumpur, but being a First World transplant in a newly industrialized country, I spend most days simply surviving.

Semi-polished Malaysia is a confusing and paradoxical place, rife with hardscrabble hazards. As an American -- spoiled by a high standard of both development and social contract, balanced by the threat of world-class legal recourse -- I am unprepared.

Every step presents an adventure as civilization unevenly veneers wilderness, the ground itself quicksand.

Consider head to toe casualties of an innocuous invitation to lunch, for example, from ego to footgear.

In a booming land often untroubled by zoning regulations, meeting friends at a prominent equatorial hotel may unexpectedly require a swampy trudge through the mosquito-infested construction site separating the elegant establishment from the main road, strappy suede sandals intended for marble floors providing meager protection.

But perhaps even more startling than the region’s frequent ambushes on both my natural instincts and established convictions is the chronic role I play in this survival game:

I am perpetual prey.

 

When planning a whimsical, open-ended trip to Southeast Asia from the dream-factory comfort of my home in Los Angeles, I projected with my sterling education and big city experience I would cut through local rustic life like a machete-wielding explorer clearing a path through ancient undergrowth.

There would be culture shock, surely, but nothing perilous.

How could an entire rainforest of a country, sixty-percent untouched wilds and the rest sparsely populated by 20 million people, compare to the gritty intensity of life in that untamed concrete jungle of New York City, a hotspot I’d already survived, if not conquered?

I not only miscalculated the proportion of predators per square kilometer in this mountainous green peninsula, I misjudged my strengths. Instead of useful skills and equipment, the professional and personal properties I brought with me hindered my progress and exposed me to the bitterest situations.

I couldn’t hack through any obstructing foliage with the Bryn Mawr Honor Code.

Once the high-minded “no lying, no cheating, no stealing” system afforded me the freedom to leave my backpack without incident anywhere on the suburban Philadelphia college campus and to complete my exams unsupervised, but it was hardly a weapon – or a shield. Stretches in New York and Los Angeles may have awakened my general security habits, atrophied from collegiate ethics, but I can’t say I’m prepared to face unbridled depredation in the real world.

My classical archaeology degree was no tool of success in a developing nation where the past is swiftly being razed and architectural conservationists fighting for World Heritage status are pests for authorities and property owners aching to level historic and crumbling settlements for profit.

My muscular command of the English language, a skill which had clinched opportunities and pulled me out of tight spots before, won me no particular allies in the Asian tropics nor was it a translation aid in communicating with the natives.

Previous prolonged exposure to professional entertainment media, producing and administrating studio motion pictures, Broadway and television shows didn’t inoculate me against the rabid tradition of amateur hour, otherwise known as karaoke, nor the backward entertainment industry’s endemic third-rate productions and pirated material. Instead, my allergic reaction – symptomized by general irritability and catatonia, lack of enthusiasm while warbling La Bamba into a microphone or pawing through DVDs of the latest Hollywood releases at the pasar malam night markets -- was heightened.

Other personal provisions were stripped from me by force, or discarded as useless.

A Northern California background, values marked by non-conformism and far-left political correctness, was no compass for a conservative landscape where children are segregated and schooled by race and religion, and classified ads for jobs, housing and advanced education baldly specify the race, sex, age and religion of those who can expect to receive preferential treatment.

Here Malays call themselves Bumiputera, or princes of the earth, and Chinese people refer to themselves as ‘Chinamen’. That's a term I would have been disciplined for using as a child and when I type it today, my Pacific Northwest spellchecking program reminds me I am way, way out of line, suggesting I substitute ‘cinnamon.’

Here  I am automatically designated "white", upsetting a lifelong resistance to America’s own crude race option of ‘Caucasian’. There is no use for my more nuanced self view of being ‘Indo-European’. Besides, what difference could it make to people who presume I’m exactly the same as every other light-complected person who ever set foot in these latitudes, and more recently, whoever crossed their path.

So along with a new cultural classification, I now hold a fresh history. I wear the mantle of red-haired people, Dutch and British and French colonials, stinking privateers and planters, pompous district officers and butterfly-chasing naturalists, decadent drug-addled Orientalist writers, American expats flush with corporate money, and beer-drinking young backpackers who take their tops off after a few.

And my aesthetic treasure map – arty West Coast upbringing’s penchant for clean Japanese design, natural fibers, sensual incandescent lighting -- did not match the landscape in modern Southeast Asia.

Here ascetic living is rarely a style choice, plastic is the craze, and harsh green fluorescent lighting is preferred over illumination that might generate more heat.

So, weighed down with impractical baggage and unschooled in the wily ways of the jungle, from the moment of my arrival I have been fresh meat for stealthy indigenous hunters, a wrong-thinking creature captured unaware and defenseless in alien territory. I even set traps for myself, behavior a terrible tangle: Nerves snap when the situation calls for pliancy, I telegraph approachability when being inscrutable and remote would achieve a better result.

If I had disembarked as an insulated expatriate under the aegis of a multinational company, doubtless palms would have been crossed in advance, maps drawn, guides and porters waiting – and, ensconced in a world geared to my needs, none of this would matter.

Instead, I was a corporate nonentity on a tiny budget, accompanying an ethnic Chinese but Malaysian-born companion who had grown unaccustomed to the country after decades abroad. Along with his mother-tongue, he had forgotten many other crucial details, including that the Chinese are second class citizens in Malay-controlled Malaysia.

My life was to be couched in the local ways without benefit of street savvy. I was about to be eaten alive.

 

First, enroute from Tokyo, the national airline misplaced my brand new Ping Zing golf clubs and Plop putter, still pristine in their factory boxes. I promptly filed a claim at the Penang airport and trusted the airline bureaucracy to locate the missing equipment.

Instead, the huge corporation slumbered for weeks, deflecting my earnest attempts to follow up at one branch office after another like an elephant brushes off a tenacious fly. Finally, the mailman brought a form letter telling me what I already knew: the clubs were gone. The sensation of blasé victimization mushroomed when I read the airline’s offer of compensation for my loss: Ringgit Malaysia 48 (less than $20USD) per kilo, reducing the worth of my state-of-the-art clubs to their weight in ultra-light graphite composite.

Then my ship came in.

 

The vessel that carried all my worldly goods over the Pacific Ocean anchored in the Port of Penang, an island state off the northwest coast. In meetings the weeks before, my boastful local freight forwarder, a chain-smoking Chinese character named K.K., clad in Camel cigarette brand khaki safari suits, dismissed my worried-white-woman questions about port procedure and protocol, saying, “Leave it to me, it’s always the same.”

So I don’t begin to know the details but when he failed to show up at the Penang container yard to represent me and my interests, the unattended household container was ransacked by customs officers with the abandon of rampaging chimpanzees, to judge from the scene when I arrived.

After rending boxes from end to end and strewing delicate computer peripherals and precious belongings across the hot tarmac, like mischievous primates they pilfered lightweight shiny trinkets, Ray-Ban sunglasses and Harley Davidson keychains. Later, when my jumbled container was opened in front of my suburban Kuala Lumpur home, family heirlooms skittered into the sludge-filled storm drain.

The silent Tamil moving crew, neon yellow uniforms florid against their dark skin and bloodshot eyes, pretended not to notice. The only woman on the scene, the only foreigner, the only hysterical person, I climbed down to retrieve my things from the muck, not knowing what dank-living creatures I might meet, nor what distress signals I was emitting to the entire zipcode’s blood-thirsty leeches.

Within a few weeks my new pedigreed puppy, romping in the sunshine of my ‘padlocked residential compound’ known in the United States as a gated front yard, was whisked away in the jaws of another predator. A snapping, snarling Rottweiler of eight weeks, the ink on her pedigree papers not yet dry, the Little Brontosaurus Kid’s fearsome promise attracted the marauder she wasn’t mature enough to dissuade.

My Malaysian friends sighed and said it was to be expected, the dog was 'too nice'.Too nice for a trusting milquetoast like me to hang onto.

Later I discovered they were right, it was to be expected. An article in The Malay Mail, a tabloid newspaper specializing in grievances of the common man, reported that a dog theft ring had been operating out of my suburban, not-particularly-criminal neighborhood, stalking RM30,000 worth of well-bred canines in the time I lived there.

Cut-throat dupings and uncivilized endangerments permanently enflamed my pampered sensibilities.

Soon it didn’t matter whether the offense was personal or to my environment, or to society as a whole. The government, the press, the business community! The health care system, the food service industry, the tourism trade! The injustice, the danger, the rudeness!

I squawked and squealed to everyone who would listen and many who wouldn’t. Some local counterparts who had experienced mountains of loss and hazard sympathized, but no one recognized or mirrored my particularly American need for restitution, for justice.

“It happens,” my boisterous neighbor Tuan Tin would sagely explain, nodding and absorbing my bad news. “You can’t do anything,” she’d finally blurt if we talked long enough, quickly daubing her tears as if her tattooed eyeliner would smear.

But Tuan Tin the Buddhist did think a person could do something. She changed her faith to raise a young son stricken with leukemia, embracing Christianity that offered him a rose-colored future in heaven with the son of God – rather than Buddhism’s projection that if he lost his struggle with this life he might be reincarnated as an ant.

No jungle mother wishes her son to become a lowly ant. And so it is in sink-or-swim Malaysia: certain beliefs offer rosier futures than others.

I had wondered how Malaysians maintained their refreshing naïvete in the face of spirit-crushing jeopardy and now I knew. Benign acceptance of life's treachery is an integral aspect of the sunny Southeast Asian disposition.

My neighbors and friends and strangers I read about in the newspapers seemed to possess a mastery of personal tragedy and disappointment in their fellow man, fortitude in situations of over-exposure and lurking menace.

Over the years, I must have heard it all.

  • In the southern state of Johore, just across the causeway from civilized Singapore, massive python nests discovered near residential complexes where children daily played in the tall grasses;
  • tiger maulings in remote village kampungs on the Thai border;
  • regular outbreaks of water-contaminated typhoid and mosquito-borne dengue fever;
  • children in the East Malaysian state of Sarawak perishing in an epidemic of a particularly lethal strain of the Coxsackie virus; expensive apartment towers unsoundly built on spindly legs over a riverbed in Kuala Lumpur collapsing, crooked contractors on the lam;
  • suburban elevators that suddenly plummeted, taking high-rise dwellers to their parking-garage demise;
  • the densely populated Klang Valley subsisting without running water for weeks during a dry-season drought, while Olympic-size swimming pools were kept filled for the hosting of the splashy Commonwealth Games;
  • rare wild cats struck by cars on country roads, hauled off by an unfindable Chinese person before the wildlife officials arrive to take custody, the endangered animals’ organs possessing aphrodisiac qualities;
  • monsoon storms uncovering barrels of toxic waste dumped illegally at the expensive island beach resort of Pulau Pangkor, yards from where uninformed foreign vacationers lounged on the sand.

As much as these scandals were reported in the paper or whispered at kopi tiam neighborhood coffee shops, it seemed no one took further issue with the government or their employer, their landlord or their doctor, no one threatened to sue or strike, quit a rubber-tapping job or moved away from the palm oil plantation.

Apparently, being cheated by a merchant or eaten by a tiger or flattened by a speeding bus are legitimate events governed by the preeminent system in these parts, the law of the jungle: Eat or be eaten.

My resilient Chinese acquaintances, sure to point out that their immigrant brothers can be found thriving up the smallest river in the darkest corner of Borneo, have an expression for this zealous phenomenon. They call it kiasu, “afraid to lose” in the Hokkien dialect.

A survival attitude that can seem like a complete lack of generosity or respect for others, the syndrome is in full flower in Malaysia and perhaps most obvious on the roadways.

An attempt to merge into another lane will compel the car behind to speed up, horn blaring, in order to pass first, as if breathing your exhaust is the kiss of death.

Even down south in the land-poor island republic of Singapore where the culture is kindred but the jungle is less immediate a threat, paved over and fenced in, being kiasu is still part of life. It’s shrunk to a vestigial trait – and likenesses of Mr. Kiasu, a grasping self-centered Singaporean comic book character, grace the bumpers of luxury cars on the republic’s orderly one-way boulevards.

But in Malaysia’s rural areas and urban centers, equatorial wilderness is no faded notion, no gimmick for the national tourism board to exploit.

Here in the former Third World the jungle still rules and inhabitants face the endurance game with gusto. I must admire the Malaysian brand of fearlessness, although I cannot help but wonder whether I mean foolishness.

Throwing themselves headlong into traffic circles congested with over-laden, careening lorries and reckless motorcyclists, they navigate situations that give me a vehicular-induced migraine. Faster vehicles bump cyclists and pedestrians into squalid gutters while pedestrians scurry with packages and babies across dusty highways in the blistering heat.

In their neighborhoods they face a gauntlet of hazards while doing errands, going to work and school. In flimsy, open-toed sandals urban jungle-dwellers weave their way through tetanal conditions for which this sissy Westerner considers construction boots sine qua non -- sidewalks blooming with rusty metal stumps of defunct street signs.

But the most consuming phenomenon, at 4 degrees North of the Equator, is the invisible march of the tropics: life and death cycles of spores and microbes, accelerated by a steamy atmosphere.

If they sit in the closet for a week or two, green fungus grows on my leather shoes and ages my handbags, dulling their buckles and imbuing the smell of must.

Microscopic organisms stain the pages of my books with veiny brown splotches, and under the glass of framed artwork, blemish cream-colored matting.

My college diploma now appears to be an antique.

Wood furniture oozes crusty white sap, while piles of sawdust appear on the floor under chairs and couches, microscopic organisms eating everything in their path.

Thick moss grows overnight in the storm drain out front and mildew darkens the exterior of my house, buckling freshly-applied anti-fungal paint.

Whether indication something is dying or something is growing -- or both -- the tropical face rot is world class.

During muggy New York summers I used to suffer from a seasonal outbreak of acne that I theorized sprang from walking the city streets, sweating and accumulating layer after layer of powdery black carbon monoxide. To cheer myself up, I imagined the worst and called it tropical face rot.

But in the perpetual August of Kuala Lumpur, a trip to my local dermatologist for the same condition gets me no respect and no relief.

Statuesque Dr. Singh, a Sikh in pristine lavender turban and smooth olive skin, holds a magnifying glass to my epidermis and assures me I need no medical treatment. He sends me away with oil-dissolving cleanser.

Dr. Singh knows tropical face rot when he sees it, counting among his patients those in rural Kelantan, the northeastern-most state, victims of the flesh-destroying disease leprosy. Once leprosy patients were easier to find near Kuala Lumpur, leper colonies surrounding the city.

Now dwindling leper villages are taken over by a new growth business, plant nurseries for the nouveau riche.

After decades of beating back the jungle, in densely settled areas greening one’s property is a cutting edge practice. Tiling over their compounds for easy cleaning and felling trees since the shady, oxygen-producers attract loud dirty birds and the egg-eating snakes that follow them, suburbanites repopulate properties with greenhouse-grown varieties of docile plants. Favored is the papery-flowered Brazilian vine bougainvillea since it doesn’t attract birds or bees with a scent, drip nectar or soil the walkway with whatever sticky juice more succulent plants spit.

Envisioning myself the great white planter-cum-naturalist in the denuded suburbs, for my small patch of land I yearned to create a sanctuary of bird-friendly fruit trees and night-blooming jasmines, exotica impossible to grow in cooler, drier climates.

I’d be the genius who drew brightly-colored jungle birds and big-winged dragonflies back to the neighborhood.

Capriciously, I planted a mountain banana culled during a four-wheel drive weekend trip into the interior. No sooner was it in the ground than it started attracting trouble.

“Evil spirits live in mountain bananas,” my professional Malay neighbor Khatidja warned through our Cyclone fence. “Better to get rid of it, yah?”

But instead of heeding animist jungle wisdom I dismissed her alarm as lowland, big-city snobbery.

Besides, my Collins Field Guide to birds of Southeast Asia said Arachnothera flavigaster, or spectacled spider-hunters, built their nests on the underside of banana leaves at this elevation and I wanted to encourage that. The three foot stalk grew with ferocity, fruiting faster than I could distribute its petite orange bananas or make breads, cakes and frozen drinks. Sturdy shoots with elephantine fronds may look spectacular on a verdant hill-slope or rimming a muddy river but made my place the neighborhood eyesore, tropical equivalent of a wrecked car up on blocks. Within three months the wild baby banana towered nine feet, overtook the yard with new stalks, required constant pruning of dead leaves, cut the light coming into the house, and had to be uprooted by an itinerant handyman with a pickaxe.

But my quest for butterflies, birds and blooms wasn’t going to be diverted by a rogue mountain banana that may or may not have been haunted, so I consulted the experts. The Malaysian Nature Society’s bird watching group publishes a list of indigenous flowering plants and birds they attract. I settled on the sweet-smelling ylang ylang Cananga odorata but for an unexpressed reason nursery after nursery neglected to cultivate the tree. The five foot tall sapling I later planted was shamefully ripped from its natural place in the first growth rainforest by an enterprising garden supplier.

Armed with binoculars, I was now ready to catch sight of Nectarinia zeylonica, the purple-rumped sunbirds that would materialize just as the spindly white flower buds matured. But on the eve of each flower cluster’s opening, its branch was crudely hacked by an anonymous, superstitious neighbor. Perhaps it was that faceless individual across the street who rings an eerie bell five times a day, shadowy figure illuminated by a lone candle, or the middle-aged yuppie who practices his golf swing on his tiny patio every evening. Regardless, I consider myself a failed planter, and no naturalist in my own neighborhood.

I’m no environmentalist either. I have a limit when it comes to legions of bugs.

It’s clear that we are the intruders in insects’ lives and on insects’ turf, our mouths, eyes, noses just new realms to explore but instead of embracing the flying and crawling wildlife, I try to keep them out of my vicinity.

When I was a California girl I pored over green ways to clean, the awful details of toxic paint, EMFs and sick buildings, but now I contract an exterminator to spray a deadly malathion solution around my house and garden on a regular basis to combat ants and termites, aphids and cockroaches. The fact that the sprayer has three thumbs, a birth defect, serves as a monthly reminder to me of the world I am fostering.

Sometimes the peril for me lies not in being devoured but in finding my own daily sustenance.

Insects and microbes rule so jungle guts have grown as hardy as jungle soles.

No one sends back to the kitchen a bowl of soup with a fly in it.

Squeamishness could sound a person’s death knell, whether by over-excitement or starvation or both. Detection of the dreaded rat urine-borne Hantavirus at one of the capital’s major food courts did not affect its popularity nor require it to be closed for extermination and testing purposes. Intrepid jungle-dwellers scarf down dishes prepared by sidewalk hawkers who operate without the benefit of soap and running water, without refrigeration, without covering food from the elements – like the concrete dust drifting over from the construction site next door.

Sometimes I wonder if I am overreacting like a prissy Puritan when I cannot finish my meal after a trip to a particularly bad restaurant bathroom, a bare room with a concrete floor and a bucket of water which, when poured on the floor, snakes in an open drain past the cooking area. Or am I simply the insomniac product of alarmist U.S. media?

As an American I admit that I am burdened with an E. coli information overload, but I am not sure if all this science-based survival information shields me from danger any more than the ignorance of it protects the unconcerned people around me.

Despite outstanding questions, I have survived five long years as fresh meat for the elements, the mosquitoes and the microbes, my endurance fueled by the desire to overcome local life’s obstacles, and falling short of that, being mired in the fatalism of the forest.

Every day I undergo a battery of wilderness precautions, slathering on repellents and sun-blocks, strapping on serious head- and footgear. Making sure I'm carrying enough water, towels, extra supplies, I scurry along suburban walls like a rodent, avoiding the midday heat and blistering rays. On trips abroad I trawl through adventure stores for the latest in jungle trekking equipment, floatable sunhats and collapsible canteens.

In this oldest rainforest in the world, untouched by the Ice Age, specialized jungle gear is not for sale since the natives don’t need it. But fragile foreigners like me do, just to survive the suburbs.

And, like most of the world’s vulnerable creatures eventually do, I’ve developed a prickly exoskeleton to shield my soft innards. I’ve earned my special place in the ecosystem, striking hard and fast at the first sign of trouble from landlords and airlines and resort-operators. I put my counter-attack in writing and raise the alarm, sending a copy to the paper of public grievance, The Malay Mail. Casting a spotlight stuns the predator and slows the plundering, but I have not found a way to completely stop the human depredation, nor accept it.

So while nature’s laws have gained my full respect, man-made cataclysms still have not.

Walking around the shops one sun-drenched noon I slipped into a typically uncovered monsoon drain, substandard concrete returning to its slippery component of sand under foot. Just another victim of the country’s noxious civil engineering, there was nothing to be done and no one to call, except perhaps a friend to drive me to the nearest medical klinik.

“Everyone falls in, don’t you worry,” the Dr. Azreena assured me as she cleaned my exotic-looking but painfully pedestrian gash. She's probably right since ungrated three- to ten-foot deep drains surround residential and business blocks like steep-sided concrete moats, separating people from everything they need to do.

As I rub on vitamin A oil to speed healing of the five inch wide rectangular wound, I fantasize about a conquering tribe that will cut the swath through this jungle that I will never be able to.

A tribe that survives and grows strong on folly like uncovered drains and plummeting elevators, improper food handling and toxic dumping: lawyers. Not like the Malaysian breeds, bogged down in insipid real estate rental agreements or stalking around British courtrooms in powdered wigs and black batrobes, but the hungry, late-night television-advertising ambulance-chasing strain from the U.S. Malaysia is a paradise of prime litigation just waiting for a new rule of law.

In the meantime, when my friends in the States -- who picture me a wild adventuress in a pith helmet regardless of what information to the contrary I reveal about my life -- notice the huge indented mark on my leg, I have the option of glamorizing its far-flung cause: it does look a lot like a shark bite.

In fact, I'm lucky to be alive.

+++ Variations of this appeared in The Expat magazine in Singapore, Men's Review magazine, and Agora web portal for international living and studying.

Sunset Strip

"All you'll have to do is be your pretty self," the fiftyish fat man assured her with a big smile. The hint of a fatherly wink.

"Go places with me. Premieres and parties; entertain people you need to meet anyway." His tone conspiratorial.

"I'll be back on this stretch in twenty minutes. You can give me your answer then."

He gave the caramel-skinned girl on the curb a nod and leaned back into his plush leather driving seat.

The rising tinted window cut off the young woman's view of his tanned and balding head as he surveyed the traffic behind him on the boulevard.

Then the Rolls pulled away, joining the other cars heading toward Beverly Hills that scorching Friday afternoon.

Hair halfway down her back, her dancer's body clad in black lycra, she took a stumbling step backward.

Her eyes followed the sedan until it rounded the bend at the Chateau Marmont.

She suddenly became aware of her parched mouth, and swallowed hard.

Digging a bottle of water out of her bag, sweat began to trickle down her neck underneath the mound of steamy hair.

Somehow the stranger had keyed into her wrecked state of affairs.

The 24 year old Midwestern girl dropped onto the bus bench.

A good head on her shoulders, university degree in French literature, a loving family and largely untapped performing talent.

Hers was not a sad story.

He appeared clean, well-spoken and sympathetic.  He seemed successful.  He was even handsome in that older man kind of way.

She glanced at her watch.

Jamie’d been in Hollywood seven weeks. Seven short, eventful weeks.

She’d arrived pretty high on herself. Triumph with a dance troupe in Amsterdam made her feel she could do just about anything.

She understood Hollywood ran on connections and thought she had a pretty substantial connection herself.

One of her high school friends, a music video director, had promised to facilitate introductions to talent agents, producers and directors. Terrence invited her to stay at his beach house while she hunted for an apartment.

Jamie didn't have much money, but after improvising before -- in Europe, no less -- she figured Los Angeles couldn't be all that much tougher. She had a cushion of a couple months.

Terrence had picked Jamie up at the airport in his convertible Miata. The night air was glorious and she imagined she could smell eucalyptus. Even the head and tail lights of cars on the freeway looked like art.

She was jetlagged, and loving being in Southern California.

Terrence gave her a few tips about neighborhoods as he parked the car, made some casual references to the people he'd introduce her to while carrying her bags, and then showed her to the guestroom.

Great, great. She sank into the soft bed, delirious for the next chapter of her beautiful life.

Bright sun flooding the room woke her, and as she lay there trying to get her bearings, she could make out the sound of the surf punctuated with barking of dogs and chipper voices.

She looked out onto Santa Monica Bay with its strip of boardwalk filled with neon garbed joggers and rollerbladers. The palm-lined bay arched towards the craggy cliffs of Malibu, a deep brown against the clear blue sky.

Paradise.

She hugged herself. It was really happening.

On the kitchen table in Terrence's antiseptic bachelor pad, she found a note and the house keys.

He was already gone. Headed to Rio de Janeiro for a rap shoot, back in a week.

“Look for a used car while you do your apartment search,” he scrawled.  “You can’t survive here without a car.”

Then he closed by breezily wishing her good luck, as if nothing else should be coming her way.

She opened the fridge hoping for breakfast and saw that he only used it to store batteries and beer.

The second week, Jamie went out with Terrence and his friends.

"I hear you're a dancer," said one, a short studio exec who she thought was obnoxious. He put his arm around Jamie's waist.

"Why don't you show me some moves?"

He sure had a lot of confidence around women he just met. Jamie wondered where it came from.

Terrence was in town only sporadically and busy with marathon editing sessions. Jamie was embarrassed to keep pressing him for anything. He had already done so much for her.

In the third week she took a studio apartment with pink wall to wall carpeting a couple blocks into gang territory. All the windows had bars on them and it was more expensive than she was planning, but still the cheapest she could manage to see. Getting around town on buses was taking forever.

She found a second-hand car that made noises she didn’t understand. When she climbed in and started the engine, it felt like a life raft.

She spent $250 on a portfolio case, and $500 on headshots.

She also didn't reveal to Terrence how low on money she was. LA people seemed allergic to losers.

All she needed to do was hold on. Help was coming. She'd do some work, then she’d get a nicer apartment in a safer area, and a more reliable car.

Even Terrence said so. "When I first got here, I lived in a different part of Venice," he explained. "That was the 'hood."

Jamie went to a party at Terrence's house. He mentioned that she was going to love this crowd.

“These are the people you need to know.”

Some she knew from high school. They were wearing suits now. Even the women. Did management training programs and worked for studio bosses crunching box office numbers. Flawless skin and a toughness she didn’t recall.

She smiled and made animated small talk. The just-arrived-from-Europe mystique seemed to earn respect, but they didn’t ask anything further.

She avoided Terrence’s stupid track lights because they lit up her clingy dress and showed how threadbare it was becoming. In Amsterdam, no one cared about that kind of thing.

When she tried to find out how they had gotten started, they all assured her it was just a matter of time before she secured an agent, and then the rest would be in the bag.

They were treating her as if she were one of them. She was Terrence’s friend. That’s all they needed to know.

These successful young talents wouldn’t understand what happened on her last interview.

In a ramshackle downtown office, an old geezer of an agent had tried to feel her up.

She could still smell his dentures as he leaned close, criticizing the quality of her head shots and insisting she needed to lose 15 pounds. She’d never weighed that. Not since she was 11.

He had bits of dried food on his tie and nose hair she could see.

Then suddenly his hands were on her body.

She left his office in such a rush she forgot her portfolio on the couch. She couldn’t go back there. Now she had nothing to show people.

She had sobbed in the shower until the apartment grew dark. Climbed into bed still wrapped in her damp towel. Awoke to the guy down the hall beating his girlfriend. Police helicopters overhead, lighting up the neighborhood.

She couldn’t share this story with any of these partygoers. She was on the wrong track. They were talking box office and beach houses. They weren’t getting attacked or losing their portfolio or being told they were unemployable.

The fourth week, Jamie jumped at the chance to choreograph and appear in a dance sequence for a low budget film.

The production manager asked her to go ahead and purchase the costumes for her ten dancers. She expected to be reimbursed.

It was exposure, she was working. It would lead to something.

She rehearsed with her dancers every day for two weeks. She wasn’t looking for other work, and missed an opportunity to have lunch with Terrence and an agent.

After her sequence was in the can, Jamie tried to collect, but the wolfish production manager always suggested she come by the office late at night. She wasn’t going to put herself in that position again.

Jamie was down to one meal a day. At least she was losing weight.

This self-consciousness was a new thing. Jamie was the valedictorian in sixth grade. Sailed through puberty, and high school. Had lots of friends in college. Everyone always said she had a natural confidence.

The gross agent had mentioned the hair under her chin. Under her chin.

She had never been scrutinized so closely, not even by a lover. Maybe she had gotten too comfortable with the Dutch anything-goes.

She wondered when she could afford to get waxed at one of those Korean places. How much did waxing cost?

The next week her car died on the way to an audition. It would cost five hundred dollars to get it running again. She left it at the shop and went back to riding buses with people who smelled like nicotine was oozing out of their pores.

As she watched the bare blocks of Pico go by, she imagined initiating a romance with the Chicano auto mechanic she had met in her apartment lobby. He seemed to be interested. Maybe then she could get her car fixed for less, or free.

Who was she kidding. She was too squeamish to pull off a relationship for car repair. The tear drop tattoos under his left eye: did they mean he had been in prison?

The Hollywood Reporter advertised an open call for the dance segment of a world-famous awards ceremony.

Jamie didn't need an agent for an open call. If only she could manage to get noticed by the choreographer, she could get representation.

Four miles from her door to the West Hollywood studio. She miscalculated how long it would take by bus and was an hour late. The woman with a headset and a clipboard wouldn’t even let her enter the building.

"You snooze, you lose," the clipboard said.

Furious. Ashamed. Jamie headed for the office of the lecherous production manager, just around the corner on Sunset.

She was going to demand her money -- and she was prepared to go ballistic.

The hallway to the production office was dark and quiet.

And then there it was, like a cartoon, a huge padlock crudely attached to the door and a sign plastered over the jamb. Something about the County Sheriff's office, for nonpayment of rent.

Jamie sank to the ground and cried. Hot tears.

She would never get her costume money back.

She would never get paid for her appearance in the film.

She wouldn't be able to pay the rent this month.

She wouldn't be able to get her car fixed.

She wouldn’t be able to replace her portfolio.

She certainly wouldn’t be able to get *anything* waxed.

She'd have to call her parents and ask for money she knew they couldn’t afford to give her. And for what, exactly? Until when. Why.

Until she figured out why she thought she could do this?

Back out in the hot sun. Pounding headache and queasy empty stomach. Jamie hoisted her bag of dancing clothes onto her shoulder and walked slowly toward the bus stop.

How could she have hit bottom so quickly? Seven weeks. It must be a Hollywood record.

The purring presence of a vehicle in the bus lane. It was gaining on her. She glanced over her shoulder.

A big maroon Rolls Royce pulled up and the well-groomed driver leaned toward her.

"Excuse me, miss?  Are you an actress by any chance?"

She gave him a cold stare. Suspicious.

"You just happen to look the part of a role in my latest film....that's all. It hasn't been cast yet."

He paused to check her reaction.

She looked unsure.

"I'm the producer. Sid Teller. You've probably heard of me."

She indicated with a frown that she hadn't.

"Are you new in town?"

"I've been here a while." She rehoisted her shabby dancer's bag and looked up the street, wondering if she should just walk away.

The Rolls driver took this all in. A glimmer lit his eyes.

"The more I look at you, the more I think you're perfect for the part.”

His mobile phone began to ring. He pressed something and it stopped.

“So here's what I can do for you. This is  a tough business to get started in -- everyone can use some help,"  he said. "I've been around a long time, I know."

Jamie felt drawn to the surety in his voice and twisted her body nearer the car.

She caught the scent of his cologne, an expensive European one, notes of juniper and lemon. She liked it. Her headache was receding.

His mobile phone went off again.

He abruptly told the person on the line that he was on the way.

Refocusing on Jamie wavering by his window, he started.

“Darling.”

His voice was like honey.

“I'm in a position to offer you a complete package. The start of a lifetime, really."

Jamie squinted and tried to focus on the words. Complete package. In a position to offer.

"I'll set you up in your very own condo, ten times better than where you're staying now.  A whole new wardrobe. It looks like you could use some transportation too. Then we'll be heading to Florida to shoot my latest show, and you've got the part."

He named a series popular with adolescent males.

"It'll require a little nudity," he added.

She started to shake her head.

"The best of them got started this way, don't worry yourself."

The man turned tender, like fathers in movies.

"Sweetheart. You’re talented, there's no need to work so hard."

He could see that her expression had gone soft.

Nineteen minutes later as Sid idled at a nearby traffic light, smugly tapping the mahogany steering wheel with the tips of his fingers, it dawned on him that he had forgotten to ask the girl’s name.

The corners of his mouth went slack.

When the light turned green, he let out a long sigh and his heavy car surged through the intersection.

As he approached the Chateau Marmont bend, he straightened in his seat.

It’s fine.

If she isn't there, another one will be.

 

++++

This fictionalized account of true happenings first appeared in Livewire, a Malaysian web magazine, in 1997 when the editor asked me to write something about my time in Hollywood. Revived it at Wattpad in 2013.

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