Tuesday, March 31, 2009


I thought of no better way to kick off National Poetry Month and my first poetry post with a poem from a friend.


I manage putting you behind me -- save
these head turns. Suddenly fourteen
again, back of the family Ford, final wave
goodbye to the only home I've known. “Green
on the other side,” Dad swears: my first
lesson in the windowed view. I believe
people defy distance. I mistrust
the forward and new of leaving you.

Still, I'm artful. I paint my Sunday park
all picnic, all foreground, with no respect
to the displaced lake. I ignore the dark.
I dot my far-off trees haphazard, stark.

- Alicia Rebecca Myers

Alicia Rebecca Myers received her MFA in Poetry from NYU in 2006, where she was a Goldwater Writing Fellow. Her chapbook, Greener, is forthcoming from Finishing Line Press, and she has a poem in the current issue of Buffalo Carp. She writes a blog.

To order her chapbook email greenerchapbook@gmail.com

style of the day

Our beautiful first lady en route to & arriving in London. By the way thank you Barack for the tax cut.

Sunday, March 29, 2009

sugar daddy

Sometimes I wish Stephen Daldry was my boyfriend. He is 6'2 and has pretty hair. I also appreciate his artistic vision. When The Hours came out in theaters, I saw it five times. I also loved The Reader which was in similar vein: cross-cutting different eras, somber, and unsentimental. A veteran of the theatre, Daldry's experience is evident on film: he gives the actors space to move around and speak long (borderline pretentious) David Hare passages, with strict control of their appearance (costumes, fake noses, prosthetics) and surroundings (period detail and lighting).

I was lucky to catch Billy Elliot at the Imperial Theatre last night. Daldry's musical is superior to Daldry's 2000 film. The dance sequences are lithe, energetic and beautiful to look at especially when meshed with the bleak coal mining strikes of its setting: 1980s England. The young lead (played by 3 different actors--in this performance, Kiril Kulish) and his salty dance instructor Mrs. Wilkinson (Haydn Gwynne) are excellent. There isn't a "Memory" or a vocal powerhouse number but Elton John's songs move the show along nicely. The producers have kept the integrity of the show, with its complex gender and social issues, without watering it down for America. I can't think of a recent musical as good.

Like the subject matter and characters of his work, the nature of Daldry's sexuality is ambiguous. After a long relationship with a male set designer, he married a woman and had a child. He told The Advocate: "We're allowed to do everything. I refuse to be boxed in to the idea that 'Oh, no, I can't have kids 'cause I'm gay.' I can have kids if I'm gay. And I can also get married and have a fantastic life...To all questions [having to do] with my marriage, the answer to everything is yes. Do I have sex with my wife? Yes. Is it a real marriage? Yes. Am I gay? Yes."

Stephen, I wish you the best in love and art (forthcoming adaptation of The Amazing Adventures of Cavalier & Clay) but if you ever want to move on, I am here.