My friend Mark recently notified me that Xanga, the online hospice for attention-seeking preteens and angst-driven high schoolers, has finally come to terms with its fiscal and technological fossilization and is shutting down tomorrow unless it fulfills the last two-thirds of its staggering resuscitation quota by some miracle of God. The last time I thought about my Xanga blog was when I suddenly felt impelled to create this WordPress account, but in that instance I merely pondered the medium of blogging itself–not the content of my diaristic teenage rants and ramblings. Now that I’m faced with an actual expiration date, I figured my old Xanga deserved a parting once-over.
As soon as the adolescent memories started amassing, I realized revisiting three out of the innumerable blog posts was enough for me. Present-day critics certainly aren’t kidding when they joke about Xanga’s cultivation of the malaise. While I usually entertained my small but loyal cohort of subscribers with a hyperactive sense of humor that has since evolved, there are a couple blog entries that augment the Xanga standard for emotional harangues. Some of these vociferations probably revolve around my father’s neurotic girlfriend at the time, but most irrefutably deal with the boys of my past. For instance, in one entry I spend a paragraph listing off my relationship standings with 23 guy friends, exes, and past crushes–the majority of whom I have absolutely no memory of (Straight Ryan and Gay Ryan? Sebastian #5629? Skunk Boy!?). To make matters more difficult, I speak in a cryptically metaphoric manner that only close friends could have decoded back in 2006. Flash forward to what I assumed were my greater mental faculties of 2013, and I have no idea what in Buddha’s name I was babbling on about.
One thing I do remember with clarity, however, is a pastime documented in an entry dated Wednesday, November 22nd, 2006; an entry that describes a breakup with a former boyfriend in morose detail.
When I was growing up, I never confined myself to a single clique, floating instead from each stereotyped social circle with ease thanks to my fluid label of “artist.” Apparently, this liminal nature translated to the host of guys who came courting, because my boyfriends of school years past were quite the archetypal medley. Amidst this collection was the indie musician who started my high school dating life with disturbingly long, 70s tresses and reappeared years later to culminate high school with a hackneyed Portland beard; the pseudo-gothic, punk kid whose attraction to me apparently emanated from my obvious “innocence” and probably contributed to his recent conversion to born-again Christianity; the multicultural cross-country athlete who barely said a word to me the entire time we dated and puked at my feet whenever I tried to congratulate him after a race; the visually-deceptive hyper-nerd who built his own iPad from scratch and intended to revolutionize Lexus sound wave technology via his favorite overused phrase of “frequencies;” the budding politician who at 6’8″ would tower over the competition but ultimately make one of the most lethargic congressmen ever elected; and an array of flings so obsolete as to nullify explanation.
What most of the aforementioned disparate characters had in common (besides their initial gravitation towards a giggly, teenage girl with dyed gold hair and hurdling bruises) was that they fell prey to a cruel trend I seemed unable to shake back in those days: my propensity for dumping guys after a mere three weeks of dating. I suppose I was something of an unbreakable foal back in those days, my head too high in the clouds to find any value in menial high school relationships and my young predilections too fickle to be anchored to any one commitment for long. It wasn’t that I was completely inhumane though: in the November Xanga entry where I describe my breakup with the taciturn athlete (who finally mustered up a response when he punched a locker in anger and went on to compose several songs that anathematized my name and garnered meager local fame), my compunction and sorrow is apparent and I vividly recall succumbing to the romcom cliché of lamenting each separation with a fresh crop of tears.
In retrospect, however, I can’t help but muse that some transcendental Moon intuition was at play every time I said my adieus on the 21st day of a relationship. After all, years of rumination and introspection have asserted that every single one of those beaus was not a good union by Matchmaker Yente’s criterion. It was only when I went against the three-week benchmark and reconnected with my first high school boyfriend that the whiplash of retribution catalyzed a new chapter of my dating life, resulting in one of the most harrowing experiences of my youth and teaching me a life-altering lesson in recuperation and self-perseverance.
Today, as I look back on those first three Xanga posts, mulling over the irony that three is still the biggest number I can stomach, I can’t help but feel a sense of peaceful detachment. While it’s a fascinating study in human maturation, reading the words of a young girl with an entirely different outlook on life, a slew of petty relationships in her past, and no suspicion of the interpersonal bliss she’d accidentally discover junior year of college, merely reminds me of a bygone longing for something I wouldn’t let myself enjoy. Ultimately, I have little desire to salvage that conflicted teenage voice. So go ahead Xanga, the times have changed, that girl with the fickle temperament has grown a whole new conscience and her three-week dispensation has long since found a new naïve host; guess it’s about time to let the online record go the same way my noncommittal past went.
I can’t remember the last time I audibly stammered to someone’s face, but I won’t hastily forget this occasion.
Today as I headed back from work, turning onto Chicago St. in my neighborhood of district-homages and sweating profusely after a two mile hike in the quintessentially dry heat of the southwest, a woman I’d passed once before noticed my friendly smile and returned the favor. Then, she uttered an entire conversation in rapid-fire Spanish. When she paused for my reaction, I opened my mouth and nothing came out… for several seconds.
Now before you go dismissing me as the ignorant Anglo-Saxon I made myself out to be on the corner of Chicago and Michigan, allow me to divulge a little history. Ever since I was mistakenly assigned Spanish Immersion History in the 6th grade, I’ve always taken Spanish classes. Not only was this decision based on the advantages the skill provides in the job market, but it also stemmed from the fact that I grew up in a household that doubled as a mini Mazatlan; bedecked in a vibrant, chili pepper color palette, adorned with a skull-faced Catrina or Frida or collection of alebrijes in every room, and owned by a woman whose obsession with Mexico bridged from her hacienda replica in Portland to a casa auténtica she inhabited for a time in Oaxaca. While I resided in this Latin American lifestyle with mi mamá, Spanish was spoken fluently under our roof, and the approbation I received in Spanish class reflected it.
Once I graduated from high school and money began to dictate my education, language was forced to take the wayside, and the extreme expectations art schools perpetuate extinguished any time or energy I had to devote to practicing a second language. It’s true what they say about retention diminishing once you’ve exited childhood, and I’m the perfect case study. As a high school student, I could understand and speak Spanish, easily read and write in the language, and even think in Spanish, but inconstant exposure has stripped away several of those capabilities, reducing me to someone who can understand what you’re saying, but won’t be able to respond unless you’re only question is, “How are you?”
I have to consider myself fortunate for retaining anything at all though–especially considering the fact that my summer job during college involved teaching art to over 150 Spanish-speaking middle school students. It’s a sure bet that if I hadn’t been able to understand the petty wisecracks my kids initially made behind my back, I would have never earned their respect. Personal experience and three years in the business taught me that teenagers are ruthless enough when they feel age inhibits adults from understanding them, let alone a language barrier. Step back into the shoes of a fourteen-year-old and come armed with comedic ripostes for every snide remark, however, and you’ll earn yourself some incredibly entertaining friends.
Today, years after my participation in the Spanish Honors Society and my stint as a middle school ringmaster, I reside in what several downtown Los Angelenos have described as “the ghetto,” but from my perspective it seems a lot like home–or what Mexico City will be like once I finally travel outside of this country. My community is predominantly Hispanic, the surrounding shops are mostly tiendas and mercados, and thus far only the beaming woman I met in the street today has attempted to make conversation, discussing things I understood (Isn’t it a beautiful, sunny day? How are you doing? Good? Well my dear, may the Holy Father in heaven watch over you and bless you with good health and a wonderful day!), but could only think to say, “¡Gr-gracias!” to in response.
It’s sad to think that a girl so smitten with audial and visual language, who used to sing classical arias in Italian, German, and French and who continues to create multi-lingual artwork, has to stammer her way through one phrase of Spanish. Call it a fluke and blame it on the heat of the day, the two mile trek on blistered, flip-flopped feet, or the preoccupied concentration with what on earth I could discuss in this blog today, but ultimately I think this shameful faux pas is a sign: time to whip out a sombrero in the guise of a thinking cap, seek the counsel of the venerated Rosetta Stone, and get back to broadening my mind, Sybill Trelawney style!
When I was still a tiny little thing small enough to lift my weight doing every last pull-up you’d dared me to, I lived in the mountain town of Oakridge, Oregon, an equally tiny city where the only activities beyond whittling bear statues and getting pregnant included mountain recreations and mingling at the local Dairy Queen. Coming from a family that spent most of their time alfresco, secretly avoiding people, outdoor recreation proved to be the obvious choice, and merrymaking ensued around winding dirt trails, up the sides of snow-peaked mountains, to the tops of waterfalls, and down the medium-level ski slopes where six-year-old girl pile ups only got in the way of real skiers. One of our favorite hobbies was venturing to bodies of water, as if the Moon in us was trying to get back to overseeing the tide. We spent the majority of our recreational time vacationing on the Pacific, donning on water socks to trapeze our way across the crystal clear Willamette (before it cascaded down the mountains into the city sludge that comprises the Portland waterfront), doubling up on jet skis at my uncle’s houseboat to ride the wake of speed boats and inevitably flip over three times, distracting ourselves from the nude old fogies at the hot springs by squishing sulphuric mud between our toes, and spending the day paddling around Oakridge’s many reservoirs, our skin getting browner and our locks bleaching in the sun.
One of our favorite spots on the reservoir, just a few winding, cliff-side miles from town, was CT Beach, a little inlet that looked upon an enormous picturesque lake where fishermen could deposit their boats and outdoorsy families like mine could lay out a picnic and then dive in. On one such outing, my family towed in a big inflatable raft and oars from my dad’s rowing days, and we set sail against the slight chop the wind picked up across the water. A beautiful day beamed down on the Moon-Wood family as the two little daughters paddled themselves in circles, when all of a sudden my dad–like all young dads before their children hit puberty and refuse to be amused–decided to shake things up and flip the boat.
Everybody flew from the raft shrieking through mouthfuls of water, angrily splashing my dad, and groaning, “Daaaaaaaddy!!!,” but I was far from able to unleash my juvenile wrath on anyone because I was accidentally tied to the boat. Upside down, fully submerged, and struggling against the little bounds I’d gotten myself caught in, I stared down into depths I would later discover looked like a cavernous mud vortex winding down to the center of the earth (that you could hike!) when they drained the reservoir. I couldn’t see far at the time because the water here was always thick with green silt, but I could imagine the life flourishing just out of view. Looking up was no better, as I beheld summer sunlight pirouetting across the undulating surface, reminding me that I was down below, in this dark, oppressively silent world.
This story clearly has a happy ending, as young athletic dads with a penchant for peevishness also tend to be very good at saving kids from overdramatized accidents, but a life experience like that changes a girl, and soon, little water baby Emily Moon was terrified of the element that had previously brought her so much joy. But that didn’t mean I immediately holed myself away in a desert trailer, turning on faucets with my eyes closed. When you’re an older sister, your entire life revolves around maintaining a facade of bravery for the little one’s sake, even when “the little one” is twenty years old and your “bravery” is put to the test simply catching the spider she’s screaming about.
With this sense of faux strength inflating my sails, I spent the next sixteen years approaching large bodies of water with a weird amalgamation of terror and domination, eager to beat back the aquatic threat that had done me no greater harm than instilling my irrational phobia. There were times when I almost lost the battle against the big blue drink–like the numerous times the stormy Pacific waves tried to beat me into a pulp against the sand below; the time a deceptively beautiful river in Westfir began to drag my wild-eyed, fervently paddling Shoobie away in its current and my dad–ever the aquacade hero–had to dive in and rescue her; and the time my cousin Mahina tried to leap from the houseboat deck to to my uncle’s boat, undershot it, and I experienced the cinematic cliché of gripping her hands while she begged me not to let her fall into the black, nighttime river below (fortunately, everyone’s parents came running before my clammy little hands resulted in Willamette folly). But in my relentless crusade to save face, I usually win, engaging in daring stunts just to thumb my nose at fear. Included in these reckless behaviors are swimming far out from shore by myself in Kauai, to the depths reserved for surfing the combers that break over the encompassing reef; swimming for hours on end at night, off of Tybee Island, when the world is black and the fish are feeding one state up from shark-beset Floridian waters; and pausing on the shore to listen to the sound of something big and lumbering, splashing through the water only feet away on a strange southern night when the beach fog was so thick you couldn’t see six inches in front of your face. While I’m none too eager to repeat the idiotic behaviors of my past, at least I can rack up the points against my phobia, limbs still wholly intact.
I don’t make the fight against fear easy for myself though. While harboring nightmares of the deep, I’ve always been incredibly fascinated by bodies of water: researching aquatic creatures–pelagic or otherwise, exploring multicultural mythologies bent on explaining away the sea, writing numerous stories that enveloped seafaring in some way, and squirming through every episode of River Monsters I could get my hands on, too distracted by the idea that freshwater’s teeming with terrifying things like pallid, Spanish river dolphins to admire my oldest man-crush to date: extreme wrangler Jeremy Wade.
Thus, it’s a strange, masochistic love affair I’ve got going on with water. On the one hand, water has chaperoned most of my life and provided me with some of the fondest memories I can summon to this day. Sure sharks feed at night, but lying there in a black bed of oscillating seawater while staring up at an enormous white moon was one of the most serene moments of my life. And declaring Monkey Head Rock officially seized while the tide swiftly began to close in was exhilarating. On the other hand, all this risky business I conduct to prove my “might” may very well lead to me straight down to Davy Jones’ locker on the Flying Dutchman Express.
Perhaps if I can surmount this fear of mine though, that wouldn’t be such a bad thing… At least there’s always the Bill Dance bloopers my dear Greta James introduced me to to get ya rootin’ for water!
When I first started watching True Blood, it was at the recommendation of a friend while attending school in Savannah, Georgia. If the timing hadn’t been so specific, I doubt I would have been beguiled into tuning in, but living under a garnish of Spanish moss that bedecks the lantern-lit, cobblestoned deep south in a magical humid haze made watching a show about Louisiana juju irresistible. My lifelong fascination with cryptozoology didn’t hurt either.
So I watched on while sitting in friends’ freshman dorm rooms where the closest thing to a couch was a thin mattress whose springs all but emerged from the upholstery; under the covers in bed both out of fear of the lurking, bicorned monster in season 2 and to keep from waking Michelle, the first of many nightmarish college roommates; and back home in Portland (in a real bed), where I introduced the show to my sister and giddily critiqued the episodes away, Moon sister style. Soon, my eager engagement with the show morphed into an enjoyable hobby, and then into a mere outlet for expelling stress. Today, I only watch the show as an homage to the nostalgia of new beginnings in a reputably mystical city that now resides on the opposite side of the country.
But why have I steadily deviated from the crux of the show’s target market, gradually exhibiting less interest in watching at the same rate that the expanding tour bus industry is causing Savannah’s quaint charm to diminish?
The answer’s quite straightforward actually: the show went bad like milk that sours before the sell-by date in any state south of the Mason-Dixon line. Not that True Blood was ever phenomenal television with the same notoriety attributed to programs like Breaking Bad and The Wire, but after season 2’s mythological shenanigans, the quality of each season spiraled faster and faster down your standard concrete drain. Fortunately for the show’s ratings, True Blood hosts a horde of vampires, werewolves, fairies, shape-shifters, were-panthers (…?), and HBO’s signature obsession with boobs: everything Pavlov would employ to have a contemporary pop culture groupie salivating at the mouth in seconds. And although the plot has grown increasingly convoluted, one can’t deny that the show is ever lacking in excitement–even if we caustic viewers find the excitement incredibly ridiculous.
But what gets my goat is the writing. Having dated a screenwriter for the past year and a quarter (and having met nothing but screenwriters and Michael Sheen’s next assistant since moving out to L.A.), I feel just in saying that a major responsibility involved in developing a script is manifesting characters through their dialogue. In the first couple seasons of True Blood, the dialogue served just that purpose: defining the wholesome, southern belle-with-a-strange-ability archetype of Sookie Stackhouse as an entirely different character than the traumatically inured Tara Thorton–both of whom are extremely different than the endearing, distinctively idiomatic Lafayette.
As the seasons progressed, however, the action began to take precedence over the characters (possibly because the writers had all that aforementioned convolution to try and weave into coherence), and all the individual attributes that typified one personality from the next began to dissipate until, come season 6, we seem to have been left with one overarching character. And that character likes to say “fuck” in response to absolutely everything.
Somehow, this character-melding phenomenon merely spritzed the male ensemble before emptying its whole crop-dusting load on the female line up. For instance, even though their dialogue wasn’t spared from the show’s new favorite word, gargantuan wolfman Alcide is at least decipherable from backwater sheriff Andy Bellefleur, even if Alcide has diminished to nothing more than Batman-esque rasping and growling and a completely useless subplot. The ladies on the other hand are a catastrophe of incessant cursing as a means of normal conversation, perpetual reduction to tears (both of the saline and sanguine variety), and snidely defensive retorts that ooze with melodrama.
For example, the once child-like Sookie whose outcries used to involve phrases like “tits on a turtle” and “you no-account backwoods trash!,” recently replaced Grandma Adele’s polite influence with the truncated, adult argot of seasoned vampires like the ever brazen Pam De Beaufort. Even Pam, however, who didn’t have to change a smidgeon of her dialogue to fit into the “upgraded” ensemble, lost her luster when she catalyzed the next chapter in Tara’s storyline and tears and endless expletives ensued. Unfortunately, the writers didn’t stop there, combining Jessica Hamby, Luna the shifter, Nora the surprise sister, Willa the girl who clearly doesn’t curse in reality, Sarah Newlin the zealot, Nicole the activist, those masculine, huffy werewolf chicks, and almost all the other female characters into this steadily amassing, tear-strewn, “fuck”-fixated conglomerate with the most limited vocabulary I’ve seen since Stephenie Meyer books were big.
From a writer’s perspective, one of the greatest things about the art form is the ability to imagine up individualistic characters driven by backgrounds sui generis in nature and complete with their own relevant vernaculars. Even though the author’s voice will always be preeminent, designing a narrative with multiple characters creates the opportunity to personally inhabit different psyches and explore the various memories, motives, and reactions that create a versatile cast of individuals in reality.
Perhaps I’m being too harsh and ignoring the possibility that the writers puppeteering these True Blood characters are slaves to the f-word themselves and thus take their dialogue seriously, but coming from a network that brought us the linguistic poetry of shows like Boardwalk Empire, Sex and the City, and Game of Thrones, can I be blamed for expecting dialogue that transcends fuck?