Helen H. Moore's Blog, page 993

October 1, 2015

“Every man reads one book in his life, and this one is mine”: E.B. White’s lifelong conversation with Thoreau’s “Walden”

On Oct. 1, 1985, in an 11-room house on 40 acres of saltwater farm in the Maine town of North Brooklin, E.B. White died. In the latter days of his life, suffering from senile dementia, he’d occasionally charitably mistake his bedroom for a suite at the Algonquin. Out the door, down by the cove’s edge, his typewriter rested in the wooden boathouse where he wrote his most enduring works, including much of "Charlotte’s Web." He might have taken the boathouse for somewhere else, too, for at 10-by-15-feet it was the same size as Henry David Thoreau’s cabin off Walden pond. This was not White’s design, though it may as well have been. “Every man, I think, reads one book in his life, and this one is mine,” he wrote of "Walden" in a 1953 New Yorker piece. “It is not the best book I ever encountered, perhaps, but it is for me the handiest.” He first read the book as an undergraduate at Cornell, according to his biographer Scott Elledge. The copy he carried with him throughout his life is a small blue Oxford World’s Classics edition, purchased some time later in 1927. The copy that remains with his papers at Cornell is a brown and green edition from 1964 with an intro by White and a Duraflex cover, just in case the reader wishes to ramble off to the woods with it. But there were many others throughout his life, each encompassing a side to the avuncular essayist most readers didn’t see. There was the "Walden" an anxious White read in college, the wisdom of which sustained him through the spectacular failure of his early working days (four jobs in seven months) and, in March 1922 when he was 22, launched him on an 18-month jaunt across the country with his friend Howard Cushman. The "Walden" a smitten and shy 28-year-old White gave to Rosanne Magdol, a 19-year-old secretary at the New Yorker, when she set off for a few months at a yoga camp. The elegant edition a 29-year-old White gave to Katharine Angell, at Christmas, the year before they married. The copy a 68-year-old White gave to his step-granddaughter, Caroline Angell, at Christmas 39 years later in 1967. Throughout his life — in letters, three famous essays and an introduction to the work — White paid homage to and gently mocked Thoreau, a man who bravely isolated himself in a cabin walking distance from his mother’s house and mused on the absolute failures of his society. “Thoreau’s assault on the Concord society of the mid-nineteenth century has the quality of a modern Western,” White wrote in the summer of 1954. “He rides into the subject at top speed, shooting in all directions.” It’s an apt description. Thoreau sets "Walden’s" self-reliant tone in the original more or less immediately with his epigraph — a quote from his own book. It turns out he may be the only man worth quoting. The next 70 or so pages are a spectacular sequence of attacks and blustery principle. He suggests that slavery to one’s own false beliefs is worse than physical slavery (though he abhorred both sorts); he famously declaims, “the mass of men lead lives of quiet desperation”; he critiques all old people, writing, “I have lived some thirty years on this planet, and I have yet to hear the first syllable of valuable or even earnest advice from my seniors.” His vitriol transcends space and time, as made amply clear when he launches a fresh critique with a mutinous, “As for the Pyramids...” No one — reader nor pharaoh — is safe. White found a humor in Thoreau that Thoreau didn’t quite see in himself. Like White, he was ill at ease in the working world, a fate that continued well past his time at the pond. A year before returning to civilized life on Sept. 6, 1847, the 29-year-old Thoreau was imprisoned for refusing to pay taxes on moral grounds. A mysterious friend—assumed to be his aunt—frustrated his protest and, to his chagrin, bailed him out. Thoreau turned the evening into an essay on civil disobedience. His friends had different conclusions. The next year, the storm clouds of self-reliance forming again, Thoreau deigned to pay only because, if he didn’t, his friends would. “Thoreau is unique among writers,” White wrote, “in that those who admire him find him uncomfortable to live with … I would not swap him for a soberer or more reasonable friend even if I could.” A century on, he was still paying Thoreau’s taxes. White found in Thoreau a moral compass — the emphasis on simplicity that defined both writers’ honest voice and intentions. Thoreau’s comical resistance to all standard careers gave White an ideological basis for setting out after the life he wanted to lead. From Thoreau’s dyspeptic and euphoric ramblings, he developed a sense that you shouldn’t take yourself too seriously, but should take life very seriously indeed. “If our colleges and universities were alert,” he wrote on the hundredth anniversary of the book, “they would present a cheap pocket edition of the book to every senior upon graduating, along with his sheepskin, or instead of it.” As White grew older, worried youths would seek his advice, and he took up the suggestion himself. “At seventeen, the future is apt to seem formidable, even depressing. You should see the pages of my journal circa 1916,” he wrote to one such young woman in September 1973. “You are right that a person’s real duty in life is to save his dream, but don’t worry about it and don’t let them scare you. Henry Thoreau, who wrote Walden, said, ‘I learned this at least by my experiment: that if one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours.’ The sentence, after more than a hundred years, is still alive. So, advance confidently.”   A few years before the end of his life, White wrote a new introduction to his now classic "One Man’s Meat." He had written the essays leading up to and during World War II when he moved his son and wife from their New York rental to their house in Maine. “Once in everyone’s life there is apt to be a period when he is fully awake, instead of half asleep. I think of those five years in Maine as the time when this happened to me.” More than a century earlier, on a pond 263 miles south on I-95, Thoreau felt the same. “To be awake,” he later wrote, “is to be alive.” White was awake. But if Thoreau was the rooster shrieking at the top of his lungs, White was the brave mouse setting you straight. If less original a philosopher, he is a better friend to his readers than Thoreau, more tolerant of all save moral weakness and the failure to resist life’s invitation. This was the common theme for the two — the danger of the sort of forgetting to which every generation, with the not-so-new distractions of its new technologies, is prone. White never forgot Thoreau. White’s son Joel wrote the last of White’s anthologized letters on July 5, 1985. White was too sick to respond to his friend Charles G. Muller, who had sent him a short note on June 26 along with an article he thought his friend would like. It was called “The Man Who Found Walden Pond.” If White didn’t read it, it’s just as well. He knew that every man is to find his own Walden Pond — that the good writer shows his or her readers the path to theirs. For this knowledge, he owed Thoreau a debt. Were they contemporaries, he would have paid it, for White is the sort of friend Thoreau could have used — laughing at him, encouraging him, and agreeing solemnly to keep in view what all living creatures are given, which to forget would be to make of life only a waiting for death. Benjamin Naddaff-Hafrey is a writer covering media, tech, music and American history. Previously, he founded the music section at Mic. Follow him at @bhafrey or email him at bhafrey@gmail.com.

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Published on October 01, 2015 15:57

“I’m going back to the range”: Conservatives react to Oregon shooting with calls for more guns, tough guy talk

We don't yet know the identity of America's newest mass shooter, and I naively wish it'd remain that way, but already right-wing gun enthusiasts have jumped onto Twitter to defend their beloved killing machines from the all-too-familiar widespread calls for increased gun control on the social media site. A 20-year-old man opened fire at a small community college in Roseburg, Oregon, killing up to 13 people before finally being shot and killed by police today. The familiar conservative faces on Twitter rushed to denounce what they called attempts to "politicize the tragedy" -- their standard reply to stifle talk of gun control following these mass shootings: https://twitter.com/michellemalkin/st... https://twitter.com/StephenGutowski/s... https://twitter.com/DLoesch/status/64... https://twitter.com/RBPundit/status/6... https://twitter.com/NolteNC/status/64... There was also the standard "false flag" nonsense: https://twitter.com/PopulationWatch/s... And of course, the sick push for more guns: https://twitter.com/bob_owens/status/... https://twitter.com/benshapiro/status... Republican presidential candidate Ben Carson echoed Twitter conservatives, reacting to the shooting on right-wing radio host Hugh Hewitt's program today by denying that gun control could help to prevent such an incident. “Obviously, there are those who are going to be calling for gun control,” Carson said. “Obviously, that’s not the issue. The issue is the mentality of these people.” He argued that instead of focusing on guns, “early warning clues” should be heeded by people closer to the shooter in order to prevent such shootings:

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Published on October 01, 2015 14:42

Amy Schumer negotiated a seven figure raise on her book deal

Next time you're planning to ask for a raise, take a peg out of Amy Schumer's book. According to a new report in The New York Times, the comedy darling signed a $1-million book deal with HarperCollins for a book of humorous essays back in 2013. A year later, perhaps sensing that her star was rising following the premiere of “Inside Amy Schumer,” she bailed out of the contract. Now, Schumer has parlayed her success into a reported $8 to $10-million deal with Simon & Schuster’s Gallery Books, trouncing Tina Fey’s and Lena Dunham’s deals of $5 and 3.5$-million, respectively. As she told GQ earlier this year, "I had a whole deal, but I decided to wait — I thought I would make more money if I waited.” So there you have it: The best way to get a seven-figure raise of your own? Just wait. And make a hit show. And a hit movie. And win an Emmy. And become best friends with Jennifer Lawrence, for good measure. Easy!    Next time you're planning to ask for a raise, take a peg out of Amy Schumer's book. According to a new report in The New York Times, the comedy darling signed a $1-million book deal with HarperCollins for a book of humorous essays back in 2013. A year later, perhaps sensing that her star was rising following the premiere of “Inside Amy Schumer,” she bailed out of the contract. Now, Schumer has parlayed her success into a reported $8 to $10-million deal with Simon & Schuster’s Gallery Books, trouncing Tina Fey’s and Lena Dunham’s deals of $5 and 3.5$-million, respectively. As she told GQ earlier this year, "I had a whole deal, but I decided to wait — I thought I would make more money if I waited.” So there you have it: The best way to get a seven-figure raise of your own? Just wait. And make a hit show. And a hit movie. And win an Emmy. And become best friends with Jennifer Lawrence, for good measure. Easy!    Next time you're planning to ask for a raise, take a peg out of Amy Schumer's book. According to a new report in The New York Times, the comedy darling signed a $1-million book deal with HarperCollins for a book of humorous essays back in 2013. A year later, perhaps sensing that her star was rising following the premiere of “Inside Amy Schumer,” she bailed out of the contract. Now, Schumer has parlayed her success into a reported $8 to $10-million deal with Simon & Schuster’s Gallery Books, trouncing Tina Fey’s and Lena Dunham’s deals of $5 and 3.5$-million, respectively. As she told GQ earlier this year, "I had a whole deal, but I decided to wait — I thought I would make more money if I waited.” So there you have it: The best way to get a seven-figure raise of your own? Just wait. And make a hit show. And a hit movie. And win an Emmy. And become best friends with Jennifer Lawrence, for good measure. Easy!    Next time you're planning to ask for a raise, take a peg out of Amy Schumer's book. According to a new report in The New York Times, the comedy darling signed a $1-million book deal with HarperCollins for a book of humorous essays back in 2013. A year later, perhaps sensing that her star was rising following the premiere of “Inside Amy Schumer,” she bailed out of the contract. Now, Schumer has parlayed her success into a reported $8 to $10-million deal with Simon & Schuster’s Gallery Books, trouncing Tina Fey’s and Lena Dunham’s deals of $5 and 3.5$-million, respectively. As she told GQ earlier this year, "I had a whole deal, but I decided to wait — I thought I would make more money if I waited.” So there you have it: The best way to get a seven-figure raise of your own? Just wait. And make a hit show. And a hit movie. And win an Emmy. And become best friends with Jennifer Lawrence, for good measure. Easy!    

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Published on October 01, 2015 13:49

“If I win, they’re going back”: Why Donald Trump’s threat to refugees is the key to his campaign

In a recent interview with CNBC’s John Harwood, Donald Trump pushed back against the idea that his remarkably successful presidential campaign was, as Harwood put it, “appealing to fearful, anxious, white Americans and encouraging the belief that their problems are because of people who look different than them.” Trump said the description was wrong. He was popular with “the blacks.” He then cited an unidentified poll — which, given Trump’s track record, could very well not exist. It wasn’t an impressive answer. But in fairness to “the Donald,” it’s hard to imagine any answer he could give that would be strong enough to overcome what, for the past few months, has been staring everyone outside the Trump bubble in the face. A campaign that is simply more reliant on bigotry, resentment and tribalism than anything presidential politics has seen since Pat Buchanan’s run in 1992. A campaign whose seeming raison d’être is to champion an ugly and reactionary version of Americanism. Since a kind of neo-nativism is the true heart of Trump’s campaign, examples are easy to find. In fact, the most recent one happened just Wednesday, during a Trump appearance at a New Hampshire high school. In the midst of one of his reliably rambling and meandering speeches, Trump, according to the New York Times, mentioned the plight of Syria’s millions of refugees. “Now I hear we want to take in 200,000 Syrians,” Trump said, which elicited “some boos in the crowd,” reportedly. “If I win,” he promised, “they’re going back.” As you might expect (but still hope against), the crowd’s response this time was much more favorable. And when Trump explained that the millions of refugees — more than 50 percent of whom are children — “could be ISIS” and be engaged in “one of the great tactical ploys of all time,” with “[a] 200,000-man army, maybe” creating “problems,” no one laughed. Not because they were too appalled into silence by the grotesque mix of comic book juvenilia and dehumanization; but because they agreed. The distance between Syrian refugees in the real world and the menacing hordes of Trump’s nightmares is so vast, the case puts his specific brand of Americanism in starker relief. That makes it easier, in turn, to see how it diverges from not only the liberal conception of Americanism, but that of the mainstream, too. For example: America likes to tell itself that one of its guiding principles can be found on the Statue of Liberty. But “The New Colossus” is literally about welcoming refugees. If Trump had to truly consider the poem, it’s hard to imagine it winning his favor. Yet that wasn’t the only revealing statement Trump made on Wednesday. He also said he was “putting the people on notice that are coming here from Syria as a part of this mass migration.” That may sound just as stupid — and no more dangerous — than the rest of his rant, but it isn’t. Because whether he knew it or not, his talk of “mass migration” was bound to be understood as a dog-whistle to a certain segment of his most ardent fanbase: white nationalists (a.k.a., white supremacists or neo-Nazis). Not incidentally, Pat Buchanan plays an important role in the intellectual history of this movement, too. His 2001 book, “The Death of the West: How Dying Populations and Immigrant Invasions Imperil Our Culture and Civilization,” is cited by many white nationalists as their gateway. It was here they learned of a global plot to lower (white) birthrates in the West and thus allow an “invasion” of fecund immigrants to take-over from within. So when Trump rails against “mass migration,” there is no doubt that a significant number of his supporters think they know what he really means. But whether or not Trump is dog-whistling on purpose doesn’t matter. Because the sentiment he communicated with his threat to Syria’s refugees, which has really animated his whole campaign, does not require intellectual rigor. It is extremely simple. It understands Americanism not as a philosophical orientation — not as an outgrowth of the Enlightenment — but as a physical thing. Instead of liberty and equality, blood and soil. Instead of the principles that you've chosen, the accidents of your birth. Instead of sanctuary for "your tired, your poor, your huddled masses yearning to breathe free," deportation for refugees.In a recent interview with CNBC’s John Harwood, Donald Trump pushed back against the idea that his remarkably successful presidential campaign was, as Harwood put it, “appealing to fearful, anxious, white Americans and encouraging the belief that their problems are because of people who look different than them.” Trump said the description was wrong. He was popular with “the blacks.” He then cited an unidentified poll — which, given Trump’s track record, could very well not exist. It wasn’t an impressive answer. But in fairness to “the Donald,” it’s hard to imagine any answer he could give that would be strong enough to overcome what, for the past few months, has been staring everyone outside the Trump bubble in the face. A campaign that is simply more reliant on bigotry, resentment and tribalism than anything presidential politics has seen since Pat Buchanan’s run in 1992. A campaign whose seeming raison d’être is to champion an ugly and reactionary version of Americanism. Since a kind of neo-nativism is the true heart of Trump’s campaign, examples are easy to find. In fact, the most recent one happened just Wednesday, during a Trump appearance at a New Hampshire high school. In the midst of one of his reliably rambling and meandering speeches, Trump, according to the New York Times, mentioned the plight of Syria’s millions of refugees. “Now I hear we want to take in 200,000 Syrians,” Trump said, which elicited “some boos in the crowd,” reportedly. “If I win,” he promised, “they’re going back.” As you might expect (but still hope against), the crowd’s response this time was much more favorable. And when Trump explained that the millions of refugees — more than 50 percent of whom are children — “could be ISIS” and be engaged in “one of the great tactical ploys of all time,” with “[a] 200,000-man army, maybe” creating “problems,” no one laughed. Not because they were too appalled into silence by the grotesque mix of comic book juvenilia and dehumanization; but because they agreed. The distance between Syrian refugees in the real world and the menacing hordes of Trump’s nightmares is so vast, the case puts his specific brand of Americanism in starker relief. That makes it easier, in turn, to see how it diverges from not only the liberal conception of Americanism, but that of the mainstream, too. For example: America likes to tell itself that one of its guiding principles can be found on the Statue of Liberty. But “The New Colossus” is literally about welcoming refugees. If Trump had to truly consider the poem, it’s hard to imagine it winning his favor. Yet that wasn’t the only revealing statement Trump made on Wednesday. He also said he was “putting the people on notice that are coming here from Syria as a part of this mass migration.” That may sound just as stupid — and no more dangerous — than the rest of his rant, but it isn’t. Because whether he knew it or not, his talk of “mass migration” was bound to be understood as a dog-whistle to a certain segment of his most ardent fanbase: white nationalists (a.k.a., white supremacists or neo-Nazis). Not incidentally, Pat Buchanan plays an important role in the intellectual history of this movement, too. His 2001 book, “The Death of the West: How Dying Populations and Immigrant Invasions Imperil Our Culture and Civilization,” is cited by many white nationalists as their gateway. It was here they learned of a global plot to lower (white) birthrates in the West and thus allow an “invasion” of fecund immigrants to take-over from within. So when Trump rails against “mass migration,” there is no doubt that a significant number of his supporters think they know what he really means. But whether or not Trump is dog-whistling on purpose doesn’t matter. Because the sentiment he communicated with his threat to Syria’s refugees, which has really animated his whole campaign, does not require intellectual rigor. It is extremely simple. It understands Americanism not as a philosophical orientation — not as an outgrowth of the Enlightenment — but as a physical thing. Instead of liberty and equality, blood and soil. Instead of the principles that you've chosen, the accidents of your birth. Instead of sanctuary for "your tired, your poor, your huddled masses yearning to breathe free," deportation for refugees.

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Published on October 01, 2015 12:51

John Oliver has a blast on “The Late Show”

For those late-night observers who’ve spent the week watching Trevor Noah’s first week on “The Daily Show” with a kind of Talmudic focus, the arrival of John Oliver on “The Late Show With Stephen Colbert” registered as a kind of sensory overload. So far the most-quoted lines from the host convergence was Oliver’s assertion that he simply doesn’t care about Donald Trump. “I couldn’t give less of sh*t,” Oliver said of the truculent candidate. “It’s the 2016 election. And it’s 2015 right now. So I don’t care until we’re in the same year as the thing that I’m supposed to care about.” (For what it’s worth, because the term was bleeped, some think he may’ve said that he did not give a “f*ck.”) It’s also intriguing to note that neither the Birmingham-born, Cambridge-educated Oliver nor Johannesburg native Noah, are American citizens: So two of the most influential commentators on American politics cannot vote in U.S. elections. In any case, Oliver talked about the importance of political issues not tied up in the election, which is not a bad niche given how pointless a lot of the horserace coverage has been. Instead of a brand-new “Daily Show” host trying to find his feet, here were two veterans of the Jon Stewart-era show who have grown into their new roles and not only know who they are, but can riff with each other in a way that’s both entertaining and smart. It almost makes you want a buddy movie. It’s also hard not to notice that before and after Oliver showed up last night, Wednesday’s installment of “The Late Show” was straining a little. The bit on virtual reality, in which Colbert pretended to experience a GOP debate through a new headset, demonstrated his gift for physical comedy. But it still went on too long. That goes double for “Big Questions With Even Bigger Stars,” in which Colbert and Tom Hanks sprawled on a blanket outdoors and pondered the mysteries of the universe. (It started strong, as Colbert asked: “Hey Tom, why do you think bad things happen to good people?” Hanks: “Maybe it’s because God’s really old, and his eyes are going.”) By the end, Hanks just admitted it: The skit’s goal was simply “to kill four minutes before John Oliver comes out.” Colbert’s interview with Snapchat founder Evan Spiegel (how many times did Colbert say “billion” or “billionaire”?) only occasionally came to life. And while it was cool to see Bill Withers, the R&B musician and songwriter who’s experienced a well-deserved revival in recent years (and who turns out to be a serious Judge Judy fan), the three-way conversation with Ed Sheeran didn’t really go anywhere, either. But the few minutes with Oliver, who bounced onto stage and sat down with a fake bow, made up for the rough or blank spots elsewhere. After the low-key, handsome-guy boastfulness of Noah, Oliver’s self-deprecation was striking: He picked up Colbert’s praise – that his show had really caught fire -- by describing himself as “a pretty small blaze… the kind of heat that could partially toast a marshmallow.” Even the jokey sparring between the two -- with Oliver asserting that his single half-hour of television as “less is more… like heroin” – was based on undercutting his own achievement. How, Colbert asked, did Oliver’s “Last Week Tonight” come up with topics heavy enough to be worth pursuing for 18 minutes but engaging enough to matter to an audience? Oliver admitted it was never easy: “We’re on the precipice of disaster every week.” Oliver and Colbert have the practiced improviser’s combination of spontaneity, empathy, and perfect timing. It’s probably not fair to Noah to compared him to these two, or their absolute mastery when they’re together: Noah is young and still adjusting to a hosting role very different from his previous efforts as a stand-up comedian. There was a telling moment near the end, though, where Oliver and Colbert were praising Noah’s maiden voyage. “He’s taking on the impossible,” Oliver said. “You can’t replace the irreplaceable.” Colbert came back with, “I wouldn’t know what that’s like.” This was, of course, supposed to be a knowing reference to Colbert stepping into David Letterman’s shoes. But as titanic and influential a figure as Letterman proved to be, it’s difficult to imagine a lot of people pining for him the way Jon Stewart fans are still watching “The Daily Show” and waiting for the old bitter spark. Whether they’ll get it – or something satisfying in its own way -- is impossible to say at this point. But it became very clear last night that whatever else is going on in the world of late night these days, two of Stewart’s old alums are playing at the very top of their game.For those late-night observers who’ve spent the week watching Trevor Noah’s first week on “The Daily Show” with a kind of Talmudic focus, the arrival of John Oliver on “The Late Show With Stephen Colbert” registered as a kind of sensory overload. So far the most-quoted lines from the host convergence was Oliver’s assertion that he simply doesn’t care about Donald Trump. “I couldn’t give less of sh*t,” Oliver said of the truculent candidate. “It’s the 2016 election. And it’s 2015 right now. So I don’t care until we’re in the same year as the thing that I’m supposed to care about.” (For what it’s worth, because the term was bleeped, some think he may’ve said that he did not give a “f*ck.”) It’s also intriguing to note that neither the Birmingham-born, Cambridge-educated Oliver nor Johannesburg native Noah, are American citizens: So two of the most influential commentators on American politics cannot vote in U.S. elections. In any case, Oliver talked about the importance of political issues not tied up in the election, which is not a bad niche given how pointless a lot of the horserace coverage has been. Instead of a brand-new “Daily Show” host trying to find his feet, here were two veterans of the Jon Stewart-era show who have grown into their new roles and not only know who they are, but can riff with each other in a way that’s both entertaining and smart. It almost makes you want a buddy movie. It’s also hard not to notice that before and after Oliver showed up last night, Wednesday’s installment of “The Late Show” was straining a little. The bit on virtual reality, in which Colbert pretended to experience a GOP debate through a new headset, demonstrated his gift for physical comedy. But it still went on too long. That goes double for “Big Questions With Even Bigger Stars,” in which Colbert and Tom Hanks sprawled on a blanket outdoors and pondered the mysteries of the universe. (It started strong, as Colbert asked: “Hey Tom, why do you think bad things happen to good people?” Hanks: “Maybe it’s because God’s really old, and his eyes are going.”) By the end, Hanks just admitted it: The skit’s goal was simply “to kill four minutes before John Oliver comes out.” Colbert’s interview with Snapchat founder Evan Spiegel (how many times did Colbert say “billion” or “billionaire”?) only occasionally came to life. And while it was cool to see Bill Withers, the R&B musician and songwriter who’s experienced a well-deserved revival in recent years (and who turns out to be a serious Judge Judy fan), the three-way conversation with Ed Sheeran didn’t really go anywhere, either. But the few minutes with Oliver, who bounced onto stage and sat down with a fake bow, made up for the rough or blank spots elsewhere. After the low-key, handsome-guy boastfulness of Noah, Oliver’s self-deprecation was striking: He picked up Colbert’s praise – that his show had really caught fire -- by describing himself as “a pretty small blaze… the kind of heat that could partially toast a marshmallow.” Even the jokey sparring between the two -- with Oliver asserting that his single half-hour of television as “less is more… like heroin” – was based on undercutting his own achievement. How, Colbert asked, did Oliver’s “Last Week Tonight” come up with topics heavy enough to be worth pursuing for 18 minutes but engaging enough to matter to an audience? Oliver admitted it was never easy: “We’re on the precipice of disaster every week.” Oliver and Colbert have the practiced improviser’s combination of spontaneity, empathy, and perfect timing. It’s probably not fair to Noah to compared him to these two, or their absolute mastery when they’re together: Noah is young and still adjusting to a hosting role very different from his previous efforts as a stand-up comedian. There was a telling moment near the end, though, where Oliver and Colbert were praising Noah’s maiden voyage. “He’s taking on the impossible,” Oliver said. “You can’t replace the irreplaceable.” Colbert came back with, “I wouldn’t know what that’s like.” This was, of course, supposed to be a knowing reference to Colbert stepping into David Letterman’s shoes. But as titanic and influential a figure as Letterman proved to be, it’s difficult to imagine a lot of people pining for him the way Jon Stewart fans are still watching “The Daily Show” and waiting for the old bitter spark. Whether they’ll get it – or something satisfying in its own way -- is impossible to say at this point. But it became very clear last night that whatever else is going on in the world of late night these days, two of Stewart’s old alums are playing at the very top of their game.For those late-night observers who’ve spent the week watching Trevor Noah’s first week on “The Daily Show” with a kind of Talmudic focus, the arrival of John Oliver on “The Late Show With Stephen Colbert” registered as a kind of sensory overload. So far the most-quoted lines from the host convergence was Oliver’s assertion that he simply doesn’t care about Donald Trump. “I couldn’t give less of sh*t,” Oliver said of the truculent candidate. “It’s the 2016 election. And it’s 2015 right now. So I don’t care until we’re in the same year as the thing that I’m supposed to care about.” (For what it’s worth, because the term was bleeped, some think he may’ve said that he did not give a “f*ck.”) It’s also intriguing to note that neither the Birmingham-born, Cambridge-educated Oliver nor Johannesburg native Noah, are American citizens: So two of the most influential commentators on American politics cannot vote in U.S. elections. In any case, Oliver talked about the importance of political issues not tied up in the election, which is not a bad niche given how pointless a lot of the horserace coverage has been. Instead of a brand-new “Daily Show” host trying to find his feet, here were two veterans of the Jon Stewart-era show who have grown into their new roles and not only know who they are, but can riff with each other in a way that’s both entertaining and smart. It almost makes you want a buddy movie. It’s also hard not to notice that before and after Oliver showed up last night, Wednesday’s installment of “The Late Show” was straining a little. The bit on virtual reality, in which Colbert pretended to experience a GOP debate through a new headset, demonstrated his gift for physical comedy. But it still went on too long. That goes double for “Big Questions With Even Bigger Stars,” in which Colbert and Tom Hanks sprawled on a blanket outdoors and pondered the mysteries of the universe. (It started strong, as Colbert asked: “Hey Tom, why do you think bad things happen to good people?” Hanks: “Maybe it’s because God’s really old, and his eyes are going.”) By the end, Hanks just admitted it: The skit’s goal was simply “to kill four minutes before John Oliver comes out.” Colbert’s interview with Snapchat founder Evan Spiegel (how many times did Colbert say “billion” or “billionaire”?) only occasionally came to life. And while it was cool to see Bill Withers, the R&B musician and songwriter who’s experienced a well-deserved revival in recent years (and who turns out to be a serious Judge Judy fan), the three-way conversation with Ed Sheeran didn’t really go anywhere, either. But the few minutes with Oliver, who bounced onto stage and sat down with a fake bow, made up for the rough or blank spots elsewhere. After the low-key, handsome-guy boastfulness of Noah, Oliver’s self-deprecation was striking: He picked up Colbert’s praise – that his show had really caught fire -- by describing himself as “a pretty small blaze… the kind of heat that could partially toast a marshmallow.” Even the jokey sparring between the two -- with Oliver asserting that his single half-hour of television as “less is more… like heroin” – was based on undercutting his own achievement. How, Colbert asked, did Oliver’s “Last Week Tonight” come up with topics heavy enough to be worth pursuing for 18 minutes but engaging enough to matter to an audience? Oliver admitted it was never easy: “We’re on the precipice of disaster every week.” Oliver and Colbert have the practiced improviser’s combination of spontaneity, empathy, and perfect timing. It’s probably not fair to Noah to compared him to these two, or their absolute mastery when they’re together: Noah is young and still adjusting to a hosting role very different from his previous efforts as a stand-up comedian. There was a telling moment near the end, though, where Oliver and Colbert were praising Noah’s maiden voyage. “He’s taking on the impossible,” Oliver said. “You can’t replace the irreplaceable.” Colbert came back with, “I wouldn’t know what that’s like.” This was, of course, supposed to be a knowing reference to Colbert stepping into David Letterman’s shoes. But as titanic and influential a figure as Letterman proved to be, it’s difficult to imagine a lot of people pining for him the way Jon Stewart fans are still watching “The Daily Show” and waiting for the old bitter spark. Whether they’ll get it – or something satisfying in its own way -- is impossible to say at this point. But it became very clear last night that whatever else is going on in the world of late night these days, two of Stewart’s old alums are playing at the very top of their game.

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Published on October 01, 2015 12:45

September 30, 2015

I hated not being white: The lies I told just to fit in haunt me still

“What do you think your name should be?” my dad asked me.

We were parked outside my new elementary school on Elm Street, I was excited: How many children get to choose a new name—and, by extension, a new identity?

I told my dad I wanted to be called “Ken,” a Japanese- American name, and, importantly, the name of a Street Fighter character. He suggested “Tom,” a name that would obscure any Asian ancestry.

Tom was close to the name my parents gave me: Tung, a Vietnamese name after the Tung tree meaning strength and fortitude. I had neither during my childhood; I was timid, so they called me Diệu, a girl’s name. Because of this, my identity existed in discrete units, fractioned out. At home I was Diệu, at school I was Tom, and on any official record I was Tung.

In my family, names were more than what people would call you. Parents would name their sons and daughters names that would signify traits they wanted to imbue in them. Names had powers. But when my parents and I immigrated to the U.S., names were just that: names. They were tools, not symbols. They were used to identify, not signify; utterly utilitarian.

In my family, my sister and I had the most Asian names. After my parents passed their naturalization test they changed their names to Steve and Kim. They gave the children they had after me far more white-American names: Tina, Justin and Brendon.

Why did I have to change my name?

I asked my dad this as an adult. He said he knew it would be easier for me and easier would be better. “It’s better to go with the crowd than to stand out,” he told me. And I believed him; he loved this country and the opportunities it gave him, even if at times it was awful. “Chink” and “gook” are words he didn’t understand, but I could, though I wouldn’t tell him what they meant. 

In some ways, I knew my dad was right; it probably was easier for me to make friends as Tom than it would have been as Tung. It was easier to live where we did without the stigma attached to a more ethnic name. Yet, changing my name didn’t change how I looked: Asian. Epicanthal folds, pug-shaped nose, black hair, brown eyes. These are features a person can’t escape.

In elementary school I auditioned for the lead of the school musical and instead was cast as Confucius (I was the only Asian person to audition for musical theater). At Asian restaurants, friends turned to me as an expert on cuisine and culture. In public, I’m not considered a threat but a model minority. Here is the thread that connects these experiences: I am seen as a representative of a race. Through no choice of my own, I represent Asians and Asian culture in settings where Asians are in the minority.

I never asked for this role. It’s a role that was given to me based on my identity and the perception of others. And here was the seed of my own self-hatred. I didn’t want to play the representative of some ethnic minority. I didn’t want to act as a canvas, painted with people’s expectations. I needed distance from this imposed burden.

Throughout high school and into college I was afraid of being stereotyped. I avoided other Asian people because I didn’t want that label, or any label at all. I picked interests that would differentiate me from the stereotypical Asians and limit my contact with other Asian students. I did improvisational comedy, I wrote poetry, I made short films. Instead of treating my racial peers as sources of solidarity, I felt alienated from them.

And, on some level, it felt good, this distancing. I couldn’t help feeling a sharp pang of glee every time someone would exclaim, “I never knew you did that” or “Wow, that’s totally unexpected.” I wanted to exist tabula rasa in the way that many people get to exist without any marked preconception. When they see Tom, I wanted them to think of the unlimited possibilities that could be behind that name. Or even just to think of nothing at all.

I was surrounded by people, close friends, who would say things such as, “You’re not like the other Asians” or “You’re more white than Asian.” At the time, these things didn’t bother me as much as they do today. I didn’t love comments like this but they were an affirmation that my efforts to blend in were working.

Even so, as hard as I worked to exist outside a stereotypical framework, I could never truly escape it, even if I wanted to believe that I had.

One night, at a bar, while I was trying to make conversation with a woman, she rebuffed me with, “I don’t think of Asian men as men. Sorry.” Even faced with this sort of rejection, I still found myself returning, over and over, to white women.

I also had very few non-white friends. I wanted so much to not be judged, to be neutral or blank, that I was perpetuating the racism my name and behavior were meant to avoid. While I was cleaning my own slate, I was filthying the waters around me.

I believed that because white Americans had fewer preconceptions pushed on them, they were somehow freer to choose what they would do, and that this freedom made them more interesting. I thought that because Asians were subject to preconceptions, they would in turn be more predictable and boring. I was pushing my bias onto others, seeing myself as more enlightened  than other Asians.

It was years before I realized that this was happening, that I was internalizing my racism, projecting it unconsciously. Getting there took long conversations with other people who had similar experiences. It took several talks with people in interracial relationships about dating and racial lines. It took discussions with my parents.

Where do I go from here? Now, when I see someone, I do check myself. I run through a mental flow chart to detect where my biases are. I want to identify them and I want to erase them. I don't want to live life to escape others' expectations. And the first step is to acknowledge where I have failed.

These days, when I think about my name, I feel the push and pull of Tung and Tom. I feel like I’m cheating on the past. I think of how I can compromise the tug of all my identities. Maybe people can call me T. Phan or T. V. Phan. Yet I also think of how such a compromise would affect others' perceptions of me, and my perception of myself. It would be all too easy to relinquish a culture to which I am only tenuously tied. And I’m afraid I can’t turn back.

“What do you think your name should be?” my dad asked me.

We were parked outside my new elementary school on Elm Street, I was excited: How many children get to choose a new name—and, by extension, a new identity?

I told my dad I wanted to be called “Ken,” a Japanese- American name, and, importantly, the name of a Street Fighter character. He suggested “Tom,” a name that would obscure any Asian ancestry.

Tom was close to the name my parents gave me: Tung, a Vietnamese name after the Tung tree meaning strength and fortitude. I had neither during my childhood; I was timid, so they called me Diệu, a girl’s name. Because of this, my identity existed in discrete units, fractioned out. At home I was Diệu, at school I was Tom, and on any official record I was Tung.

In my family, names were more than what people would call you. Parents would name their sons and daughters names that would signify traits they wanted to imbue in them. Names had powers. But when my parents and I immigrated to the U.S., names were just that: names. They were tools, not symbols. They were used to identify, not signify; utterly utilitarian.

In my family, my sister and I had the most Asian names. After my parents passed their naturalization test they changed their names to Steve and Kim. They gave the children they had after me far more white-American names: Tina, Justin and Brendon.

Why did I have to change my name?

I asked my dad this as an adult. He said he knew it would be easier for me and easier would be better. “It’s better to go with the crowd than to stand out,” he told me. And I believed him; he loved this country and the opportunities it gave him, even if at times it was awful. “Chink” and “gook” are words he didn’t understand, but I could, though I wouldn’t tell him what they meant. 

In some ways, I knew my dad was right; it probably was easier for me to make friends as Tom than it would have been as Tung. It was easier to live where we did without the stigma attached to a more ethnic name. Yet, changing my name didn’t change how I looked: Asian. Epicanthal folds, pug-shaped nose, black hair, brown eyes. These are features a person can’t escape.

In elementary school I auditioned for the lead of the school musical and instead was cast as Confucius (I was the only Asian person to audition for musical theater). At Asian restaurants, friends turned to me as an expert on cuisine and culture. In public, I’m not considered a threat but a model minority. Here is the thread that connects these experiences: I am seen as a representative of a race. Through no choice of my own, I represent Asians and Asian culture in settings where Asians are in the minority.

I never asked for this role. It’s a role that was given to me based on my identity and the perception of others. And here was the seed of my own self-hatred. I didn’t want to play the representative of some ethnic minority. I didn’t want to act as a canvas, painted with people’s expectations. I needed distance from this imposed burden.

Throughout high school and into college I was afraid of being stereotyped. I avoided other Asian people because I didn’t want that label, or any label at all. I picked interests that would differentiate me from the stereotypical Asians and limit my contact with other Asian students. I did improvisational comedy, I wrote poetry, I made short films. Instead of treating my racial peers as sources of solidarity, I felt alienated from them.

And, on some level, it felt good, this distancing. I couldn’t help feeling a sharp pang of glee every time someone would exclaim, “I never knew you did that” or “Wow, that’s totally unexpected.” I wanted to exist tabula rasa in the way that many people get to exist without any marked preconception. When they see Tom, I wanted them to think of the unlimited possibilities that could be behind that name. Or even just to think of nothing at all.

I was surrounded by people, close friends, who would say things such as, “You’re not like the other Asians” or “You’re more white than Asian.” At the time, these things didn’t bother me as much as they do today. I didn’t love comments like this but they were an affirmation that my efforts to blend in were working.

Even so, as hard as I worked to exist outside a stereotypical framework, I could never truly escape it, even if I wanted to believe that I had.

One night, at a bar, while I was trying to make conversation with a woman, she rebuffed me with, “I don’t think of Asian men as men. Sorry.” Even faced with this sort of rejection, I still found myself returning, over and over, to white women.

I also had very few non-white friends. I wanted so much to not be judged, to be neutral or blank, that I was perpetuating the racism my name and behavior were meant to avoid. While I was cleaning my own slate, I was filthying the waters around me.

I believed that because white Americans had fewer preconceptions pushed on them, they were somehow freer to choose what they would do, and that this freedom made them more interesting. I thought that because Asians were subject to preconceptions, they would in turn be more predictable and boring. I was pushing my bias onto others, seeing myself as more enlightened  than other Asians.

It was years before I realized that this was happening, that I was internalizing my racism, projecting it unconsciously. Getting there took long conversations with other people who had similar experiences. It took several talks with people in interracial relationships about dating and racial lines. It took discussions with my parents.

Where do I go from here? Now, when I see someone, I do check myself. I run through a mental flow chart to detect where my biases are. I want to identify them and I want to erase them. I don't want to live life to escape others' expectations. And the first step is to acknowledge where I have failed.

These days, when I think about my name, I feel the push and pull of Tung and Tom. I feel like I’m cheating on the past. I think of how I can compromise the tug of all my identities. Maybe people can call me T. Phan or T. V. Phan. Yet I also think of how such a compromise would affect others' perceptions of me, and my perception of myself. It would be all too easy to relinquish a culture to which I am only tenuously tied. And I’m afraid I can’t turn back.

“What do you think your name should be?” my dad asked me.

We were parked outside my new elementary school on Elm Street, I was excited: How many children get to choose a new name—and, by extension, a new identity?

I told my dad I wanted to be called “Ken,” a Japanese- American name, and, importantly, the name of a Street Fighter character. He suggested “Tom,” a name that would obscure any Asian ancestry.

Tom was close to the name my parents gave me: Tung, a Vietnamese name after the Tung tree meaning strength and fortitude. I had neither during my childhood; I was timid, so they called me Diệu, a girl’s name. Because of this, my identity existed in discrete units, fractioned out. At home I was Diệu, at school I was Tom, and on any official record I was Tung.

In my family, names were more than what people would call you. Parents would name their sons and daughters names that would signify traits they wanted to imbue in them. Names had powers. But when my parents and I immigrated to the U.S., names were just that: names. They were tools, not symbols. They were used to identify, not signify; utterly utilitarian.

In my family, my sister and I had the most Asian names. After my parents passed their naturalization test they changed their names to Steve and Kim. They gave the children they had after me far more white-American names: Tina, Justin and Brendon.

Why did I have to change my name?

I asked my dad this as an adult. He said he knew it would be easier for me and easier would be better. “It’s better to go with the crowd than to stand out,” he told me. And I believed him; he loved this country and the opportunities it gave him, even if at times it was awful. “Chink” and “gook” are words he didn’t understand, but I could, though I wouldn’t tell him what they meant. 

In some ways, I knew my dad was right; it probably was easier for me to make friends as Tom than it would have been as Tung. It was easier to live where we did without the stigma attached to a more ethnic name. Yet, changing my name didn’t change how I looked: Asian. Epicanthal folds, pug-shaped nose, black hair, brown eyes. These are features a person can’t escape.

In elementary school I auditioned for the lead of the school musical and instead was cast as Confucius (I was the only Asian person to audition for musical theater). At Asian restaurants, friends turned to me as an expert on cuisine and culture. In public, I’m not considered a threat but a model minority. Here is the thread that connects these experiences: I am seen as a representative of a race. Through no choice of my own, I represent Asians and Asian culture in settings where Asians are in the minority.

I never asked for this role. It’s a role that was given to me based on my identity and the perception of others. And here was the seed of my own self-hatred. I didn’t want to play the representative of some ethnic minority. I didn’t want to act as a canvas, painted with people’s expectations. I needed distance from this imposed burden.

Throughout high school and into college I was afraid of being stereotyped. I avoided other Asian people because I didn’t want that label, or any label at all. I picked interests that would differentiate me from the stereotypical Asians and limit my contact with other Asian students. I did improvisational comedy, I wrote poetry, I made short films. Instead of treating my racial peers as sources of solidarity, I felt alienated from them.

And, on some level, it felt good, this distancing. I couldn’t help feeling a sharp pang of glee every time someone would exclaim, “I never knew you did that” or “Wow, that’s totally unexpected.” I wanted to exist tabula rasa in the way that many people get to exist without any marked preconception. When they see Tom, I wanted them to think of the unlimited possibilities that could be behind that name. Or even just to think of nothing at all.

I was surrounded by people, close friends, who would say things such as, “You’re not like the other Asians” or “You’re more white than Asian.” At the time, these things didn’t bother me as much as they do today. I didn’t love comments like this but they were an affirmation that my efforts to blend in were working.

Even so, as hard as I worked to exist outside a stereotypical framework, I could never truly escape it, even if I wanted to believe that I had.

One night, at a bar, while I was trying to make conversation with a woman, she rebuffed me with, “I don’t think of Asian men as men. Sorry.” Even faced with this sort of rejection, I still found myself returning, over and over, to white women.

I also had very few non-white friends. I wanted so much to not be judged, to be neutral or blank, that I was perpetuating the racism my name and behavior were meant to avoid. While I was cleaning my own slate, I was filthying the waters around me.

I believed that because white Americans had fewer preconceptions pushed on them, they were somehow freer to choose what they would do, and that this freedom made them more interesting. I thought that because Asians were subject to preconceptions, they would in turn be more predictable and boring. I was pushing my bias onto others, seeing myself as more enlightened  than other Asians.

It was years before I realized that this was happening, that I was internalizing my racism, projecting it unconsciously. Getting there took long conversations with other people who had similar experiences. It took several talks with people in interracial relationships about dating and racial lines. It took discussions with my parents.

Where do I go from here? Now, when I see someone, I do check myself. I run through a mental flow chart to detect where my biases are. I want to identify them and I want to erase them. I don't want to live life to escape others' expectations. And the first step is to acknowledge where I have failed.

These days, when I think about my name, I feel the push and pull of Tung and Tom. I feel like I’m cheating on the past. I think of how I can compromise the tug of all my identities. Maybe people can call me T. Phan or T. V. Phan. Yet I also think of how such a compromise would affect others' perceptions of me, and my perception of myself. It would be all too easy to relinquish a culture to which I am only tenuously tied. And I’m afraid I can’t turn back.

“What do you think your name should be?” my dad asked me.

We were parked outside my new elementary school on Elm Street, I was excited: How many children get to choose a new name—and, by extension, a new identity?

I told my dad I wanted to be called “Ken,” a Japanese- American name, and, importantly, the name of a Street Fighter character. He suggested “Tom,” a name that would obscure any Asian ancestry.

Tom was close to the name my parents gave me: Tung, a Vietnamese name after the Tung tree meaning strength and fortitude. I had neither during my childhood; I was timid, so they called me Diệu, a girl’s name. Because of this, my identity existed in discrete units, fractioned out. At home I was Diệu, at school I was Tom, and on any official record I was Tung.

In my family, names were more than what people would call you. Parents would name their sons and daughters names that would signify traits they wanted to imbue in them. Names had powers. But when my parents and I immigrated to the U.S., names were just that: names. They were tools, not symbols. They were used to identify, not signify; utterly utilitarian.

In my family, my sister and I had the most Asian names. After my parents passed their naturalization test they changed their names to Steve and Kim. They gave the children they had after me far more white-American names: Tina, Justin and Brendon.

Why did I have to change my name?

I asked my dad this as an adult. He said he knew it would be easier for me and easier would be better. “It’s better to go with the crowd than to stand out,” he told me. And I believed him; he loved this country and the opportunities it gave him, even if at times it was awful. “Chink” and “gook” are words he didn’t understand, but I could, though I wouldn’t tell him what they meant. 

In some ways, I knew my dad was right; it probably was easier for me to make friends as Tom than it would have been as Tung. It was easier to live where we did without the stigma attached to a more ethnic name. Yet, changing my name didn’t change how I looked: Asian. Epicanthal folds, pug-shaped nose, black hair, brown eyes. These are features a person can’t escape.

In elementary school I auditioned for the lead of the school musical and instead was cast as Confucius (I was the only Asian person to audition for musical theater). At Asian restaurants, friends turned to me as an expert on cuisine and culture. In public, I’m not considered a threat but a model minority. Here is the thread that connects these experiences: I am seen as a representative of a race. Through no choice of my own, I represent Asians and Asian culture in settings where Asians are in the minority.

I never asked for this role. It’s a role that was given to me based on my identity and the perception of others. And here was the seed of my own self-hatred. I didn’t want to play the representative of some ethnic minority. I didn’t want to act as a canvas, painted with people’s expectations. I needed distance from this imposed burden.

Throughout high school and into college I was afraid of being stereotyped. I avoided other Asian people because I didn’t want that label, or any label at all. I picked interests that would differentiate me from the stereotypical Asians and limit my contact with other Asian students. I did improvisational comedy, I wrote poetry, I made short films. Instead of treating my racial peers as sources of solidarity, I felt alienated from them.

And, on some level, it felt good, this distancing. I couldn’t help feeling a sharp pang of glee every time someone would exclaim, “I never knew you did that” or “Wow, that’s totally unexpected.” I wanted to exist tabula rasa in the way that many people get to exist without any marked preconception. When they see Tom, I wanted them to think of the unlimited possibilities that could be behind that name. Or even just to think of nothing at all.

I was surrounded by people, close friends, who would say things such as, “You’re not like the other Asians” or “You’re more white than Asian.” At the time, these things didn’t bother me as much as they do today. I didn’t love comments like this but they were an affirmation that my efforts to blend in were working.

Even so, as hard as I worked to exist outside a stereotypical framework, I could never truly escape it, even if I wanted to believe that I had.

One night, at a bar, while I was trying to make conversation with a woman, she rebuffed me with, “I don’t think of Asian men as men. Sorry.” Even faced with this sort of rejection, I still found myself returning, over and over, to white women.

I also had very few non-white friends. I wanted so much to not be judged, to be neutral or blank, that I was perpetuating the racism my name and behavior were meant to avoid. While I was cleaning my own slate, I was filthying the waters around me.

I believed that because white Americans had fewer preconceptions pushed on them, they were somehow freer to choose what they would do, and that this freedom made them more interesting. I thought that because Asians were subject to preconceptions, they would in turn be more predictable and boring. I was pushing my bias onto others, seeing myself as more enlightened  than other Asians.

It was years before I realized that this was happening, that I was internalizing my racism, projecting it unconsciously. Getting there took long conversations with other people who had similar experiences. It took several talks with people in interracial relationships about dating and racial lines. It took discussions with my parents.

Where do I go from here? Now, when I see someone, I do check myself. I run through a mental flow chart to detect where my biases are. I want to identify them and I want to erase them. I don't want to live life to escape others' expectations. And the first step is to acknowledge where I have failed.

These days, when I think about my name, I feel the push and pull of Tung and Tom. I feel like I’m cheating on the past. I think of how I can compromise the tug of all my identities. Maybe people can call me T. Phan or T. V. Phan. Yet I also think of how such a compromise would affect others' perceptions of me, and my perception of myself. It would be all too easy to relinquish a culture to which I am only tenuously tied. And I’m afraid I can’t turn back.

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Published on September 30, 2015 15:00

From “kosher sex” to love maps, 5 tips for keeping your sex life hot

AlterNet “There are only two tragedies in life: one is not getting what one wants, the other is getting it,” said Oscar Wilde. Passion is a tricky, elusive thing. Once captured, it flounders. But why does it wither when domesticated? Why do sexy intense beginnings so often lead to boring, sexless or otherwise meh middles and endings? Why aren't we having sex with our dear, highly-available partners, like, all the time? “Our senses crave novelty. Any change alerts them, and they send a signal into the brain. If there's no change, no novelty, they doze and register little or nothing. A constant state—even of excitement—in time becomes tedious, fades in the background because our senses have evolved to report only changes,” writes Diane Ackerman in "A Natural History of the Senses."* Or, says my friend Matthew, who thinks deeply on such things: “Once you're with someone, they become your family. And you don't want to have sex with people in your family.” Which is true enough, especially that last bit. But you can rekindle passion, at least according to the top Big Thinkers in the field, who offer differing—sometimes wildly so—theories on how to do it. By reframing things a bit, you can soon be happily fucking your beloved family member once again. Though you'll probably want to phrase that differently in your head. 1. Marnia Robinson Cred: Corporate lawyer-turned-writer and speaker on sex, relationships and porn. Co-hosts Your Brain on Porn website with husband Gary Wilson. The Big Idea: Karezza sex (slow sex without attempting orgasm) can help hack your neurochemicals. The Fix: The neurochemicals that make us so giddy with the first flush of love only last two years, tops. After that, the buzz wears off and couples get habituated (the nicer, more sciencey term for bored). Instead of trying to jack things up with new positions or sexy clown costumes that can further numb response to pleasure, slow things down with karezza sex, a form of affectionate, sensual sex that generally doesn't result in orgasm. This sex, according to Robinson, strengthens lovers' bonds and results in more frequent and satisfying sex. “It's like learning to diet by eating smarter, rather than struggling to eat less,” writes Robinson. “As my husband says, 'My limbic brain stays enchanted because I don't attempt to fertilize you.'” (Her husband, it will not surprise you to learn, is a science professor.) Test drive: Practice a “bonding behavior” like gazing into each other's eyes for several minutes or lying with your head on your partner's chest and listening to their heartbeat or synchronized breathing. Further reading:  "Cupid's Poisoned Arrow: From Habit to Harmony in Sexual Relationships." 2. Shmuley Boteach Cred: American Orthodox rabbi, author and TV host. The Big Idea: Women are deep and endless sources of sexuality. Exploring that eroticism leads to richer, more profound sexual/spiritual connection. The Fix: A woman's sexuality is “much deeper and longer lasting than a man's. In the face of such intensity, most husbands fear they can't measure up,” writes Boteach in "The Kosher Sutra: 8 Sacred Secrets for Reigniting Desire and Restoring Passion for Life." But for the husband who's brave enough to jump in there and explore, there are sublime pleasures to be uncovered. “There is a part of us, a passionate part that is raw, instinctive, animal, visceral, and not attuned to social norms. It's incredibly erotic to witness this side of a person become revealed. A man who can arouse a woman to this level of abandonment witnesses something incredible,” writes Boteach, in perhaps the hottest collection of sentences you'll ever read by a rabbi. This deep sensuality flows into the rest of life, giving everything an “erotic pulse.” To get to that place, Boteach recommends “Kosher Tantric” sex, including delayed orgasm to prolong sex, making it into “a worship of the divine spark in each other.” He's also against going to the bathroom in front of each other—ruins the mystery. Test drive: Try the Jewish custom of abstaining from sex for two weeks when the woman starts her period. “Every month, there must be two weeks devoted to physical love, and two weeks devoted to intellectual communication and emotional intimacy," Boteach writes in "Kosher Sex: A Recipe for Passion and Intimacy." It may sound a bit old school and rigid, but the forbiddenness fostered by abstinence can build lust, plus the on/off plan happens to correspond nicely with most women's monthly swings of desire. Further reading:  "The Kosher Sutra: 8 Sacred Secrets for Reigniting Desire and Restoring Passion for Life." 3. Esther Perel Cred: Writer, speaker, couples and family therapist. The Big Idea: We need safety and security in a relationship, yet we also need adventure and excitement. The problem is that satisfying either of these needs sort of negates the other. The trick is riding the wave between security and excitement, figuring out ways to introduce novelty, risk and mystery into the familiar and comfortable. The Fix: The erotic thrives on power plays, thwarted desire, threats of rivals and other non-safe and lovey ideas. Tap into these rich sources of desire by questioning your ideas about what's “acceptable” to you. For a lot of people, the greatest sources of excitement and pleasure have to do with childhood hurts. Being willing to poke around in these dark areas of your erotic brain is a potent natural fuel for pleasure. Test drive: Embrace the “shadow of the third.” In every relationship, there are other players, whether actual infidelities, flirtations or agreed-upon partners. Accepting this and working with it—whether by actually introducing others into your marital sex, negotiating monogamy or just feeling the arousal of a threat (perceived or real) of a romantic rival—beats complacency back and helps you see your mate as the desirable creature that they are. For further reading: "Mating in Captivity: Reconciling the Erotic + the Domestic" 4. John Gottman, Ph.D. and Julie Gottman, Ph.D.  Cred: Husband and wife psychologists who run the Gottman Institute and the Relationship Research Institute. The Big Idea: Married people do best when they behave like good friends and handle conflicts in gentle positive ways. The Fix: The Gottmans are known for their Love Labs, in which they observed couples and found that future divorcees tended to handle conflict via what the Gottmans call “The 4 Horsemen of the Apocalypse”: stonewalling, contempt, defensiveness and withdrawal. So don't do those. Good behaviors, which lack a catchy 4 Horseman-like name: Respond positively to your partner's “bids” (bids are requests for emotional connections via a question, quick hug and such). Create a love map—a mental list of your partner's preferences, dreams and sexual proclivities. Create rituals for initiating and refusing sex to minimize miscommunication and feelings of rejection. The resulting atmosphere of kindness and communication is conducive to “personal sex” that's focused on intimacy instead of intercourse. Test Drive: “Plan time for activities like hot baths, back rubs, touching, holding and simply making each other feel good physically and emotionally. If sex happens, that's fine. But if it doesn't, you'll still have met your expectation of enjoying time together,” advise the Gottmans. Further reading: "The Seven Principles for Making Marriage Work" 5. David Schnarch, Ph.D. Cred: Psychologist, sex therapist and director of the Marriage and Family Health Institute. The Big Idea: Passion (as well as a healthy relationship) depends on “differentiation,” that is, each partner cultivating a strong sense of self, despite his or her partner's (very normal) efforts to thwart that growth. The Fix: When partners work on becoming differentiated, it creates tension and gridlock. This, coupled with what Schnarch delightfully calls “normal marital sadism,” can lead to marital breakdown, but it's actually an opportunity. Gridlock and tension create a dynamic environment for growth and help passion thrive. Anxiety is also good. Instead of working on anxiety reduction, couples should work on ways to tolerate anxiety via self-soothing. “Anxiety is often part of the best sex we ever have. It's part of growing sexually. Anxiety makes us pay attention to what's going on,” writes Schnarch. During sex, couples should focus on the connection, working on truly feeling their partner as they touch them. Also good is “hugging til relaxed,” which is pretty much what it sounds like. Test drive: Try for “eyes-open orgasm.” Looking deep into each other's eyes adds intimacy and meaning to sex. The more you do it, the longer you can do it and the deeper the connection. For further reading: "Passionate Marriage: Keeping Love and Intimacy Alive in Committed Relationships." * This, however, does not explain why there are so many strip clubs called Deja Vu. Jill Hamilton writes In Bed With Married Women (www.inbedwithmarriedwomen.com. Follow her on Twitter @Jill_Hamilton. AlterNet “There are only two tragedies in life: one is not getting what one wants, the other is getting it,” said Oscar Wilde. Passion is a tricky, elusive thing. Once captured, it flounders. But why does it wither when domesticated? Why do sexy intense beginnings so often lead to boring, sexless or otherwise meh middles and endings? Why aren't we having sex with our dear, highly-available partners, like, all the time? “Our senses crave novelty. Any change alerts them, and they send a signal into the brain. If there's no change, no novelty, they doze and register little or nothing. A constant state—even of excitement—in time becomes tedious, fades in the background because our senses have evolved to report only changes,” writes Diane Ackerman in "A Natural History of the Senses."* Or, says my friend Matthew, who thinks deeply on such things: “Once you're with someone, they become your family. And you don't want to have sex with people in your family.” Which is true enough, especially that last bit. But you can rekindle passion, at least according to the top Big Thinkers in the field, who offer differing—sometimes wildly so—theories on how to do it. By reframing things a bit, you can soon be happily fucking your beloved family member once again. Though you'll probably want to phrase that differently in your head. 1. Marnia Robinson Cred: Corporate lawyer-turned-writer and speaker on sex, relationships and porn. Co-hosts Your Brain on Porn website with husband Gary Wilson. The Big Idea: Karezza sex (slow sex without attempting orgasm) can help hack your neurochemicals. The Fix: The neurochemicals that make us so giddy with the first flush of love only last two years, tops. After that, the buzz wears off and couples get habituated (the nicer, more sciencey term for bored). Instead of trying to jack things up with new positions or sexy clown costumes that can further numb response to pleasure, slow things down with karezza sex, a form of affectionate, sensual sex that generally doesn't result in orgasm. This sex, according to Robinson, strengthens lovers' bonds and results in more frequent and satisfying sex. “It's like learning to diet by eating smarter, rather than struggling to eat less,” writes Robinson. “As my husband says, 'My limbic brain stays enchanted because I don't attempt to fertilize you.'” (Her husband, it will not surprise you to learn, is a science professor.) Test drive: Practice a “bonding behavior” like gazing into each other's eyes for several minutes or lying with your head on your partner's chest and listening to their heartbeat or synchronized breathing. Further reading:  "Cupid's Poisoned Arrow: From Habit to Harmony in Sexual Relationships." 2. Shmuley Boteach Cred: American Orthodox rabbi, author and TV host. The Big Idea: Women are deep and endless sources of sexuality. Exploring that eroticism leads to richer, more profound sexual/spiritual connection. The Fix: A woman's sexuality is “much deeper and longer lasting than a man's. In the face of such intensity, most husbands fear they can't measure up,” writes Boteach in "The Kosher Sutra: 8 Sacred Secrets for Reigniting Desire and Restoring Passion for Life." But for the husband who's brave enough to jump in there and explore, there are sublime pleasures to be uncovered. “There is a part of us, a passionate part that is raw, instinctive, animal, visceral, and not attuned to social norms. It's incredibly erotic to witness this side of a person become revealed. A man who can arouse a woman to this level of abandonment witnesses something incredible,” writes Boteach, in perhaps the hottest collection of sentences you'll ever read by a rabbi. This deep sensuality flows into the rest of life, giving everything an “erotic pulse.” To get to that place, Boteach recommends “Kosher Tantric” sex, including delayed orgasm to prolong sex, making it into “a worship of the divine spark in each other.” He's also against going to the bathroom in front of each other—ruins the mystery. Test drive: Try the Jewish custom of abstaining from sex for two weeks when the woman starts her period. “Every month, there must be two weeks devoted to physical love, and two weeks devoted to intellectual communication and emotional intimacy," Boteach writes in "Kosher Sex: A Recipe for Passion and Intimacy." It may sound a bit old school and rigid, but the forbiddenness fostered by abstinence can build lust, plus the on/off plan happens to correspond nicely with most women's monthly swings of desire. Further reading:  "The Kosher Sutra: 8 Sacred Secrets for Reigniting Desire and Restoring Passion for Life." 3. Esther Perel Cred: Writer, speaker, couples and family therapist. The Big Idea: We need safety and security in a relationship, yet we also need adventure and excitement. The problem is that satisfying either of these needs sort of negates the other. The trick is riding the wave between security and excitement, figuring out ways to introduce novelty, risk and mystery into the familiar and comfortable. The Fix: The erotic thrives on power plays, thwarted desire, threats of rivals and other non-safe and lovey ideas. Tap into these rich sources of desire by questioning your ideas about what's “acceptable” to you. For a lot of people, the greatest sources of excitement and pleasure have to do with childhood hurts. Being willing to poke around in these dark areas of your erotic brain is a potent natural fuel for pleasure. Test drive: Embrace the “shadow of the third.” In every relationship, there are other players, whether actual infidelities, flirtations or agreed-upon partners. Accepting this and working with it—whether by actually introducing others into your marital sex, negotiating monogamy or just feeling the arousal of a threat (perceived or real) of a romantic rival—beats complacency back and helps you see your mate as the desirable creature that they are. For further reading: "Mating in Captivity: Reconciling the Erotic + the Domestic" 4. John Gottman, Ph.D. and Julie Gottman, Ph.D.  Cred: Husband and wife psychologists who run the Gottman Institute and the Relationship Research Institute. The Big Idea: Married people do best when they behave like good friends and handle conflicts in gentle positive ways. The Fix: The Gottmans are known for their Love Labs, in which they observed couples and found that future divorcees tended to handle conflict via what the Gottmans call “The 4 Horsemen of the Apocalypse”: stonewalling, contempt, defensiveness and withdrawal. So don't do those. Good behaviors, which lack a catchy 4 Horseman-like name: Respond positively to your partner's “bids” (bids are requests for emotional connections via a question, quick hug and such). Create a love map—a mental list of your partner's preferences, dreams and sexual proclivities. Create rituals for initiating and refusing sex to minimize miscommunication and feelings of rejection. The resulting atmosphere of kindness and communication is conducive to “personal sex” that's focused on intimacy instead of intercourse. Test Drive: “Plan time for activities like hot baths, back rubs, touching, holding and simply making each other feel good physically and emotionally. If sex happens, that's fine. But if it doesn't, you'll still have met your expectation of enjoying time together,” advise the Gottmans. Further reading: "The Seven Principles for Making Marriage Work" 5. David Schnarch, Ph.D. Cred: Psychologist, sex therapist and director of the Marriage and Family Health Institute. The Big Idea: Passion (as well as a healthy relationship) depends on “differentiation,” that is, each partner cultivating a strong sense of self, despite his or her partner's (very normal) efforts to thwart that growth. The Fix: When partners work on becoming differentiated, it creates tension and gridlock. This, coupled with what Schnarch delightfully calls “normal marital sadism,” can lead to marital breakdown, but it's actually an opportunity. Gridlock and tension create a dynamic environment for growth and help passion thrive. Anxiety is also good. Instead of working on anxiety reduction, couples should work on ways to tolerate anxiety via self-soothing. “Anxiety is often part of the best sex we ever have. It's part of growing sexually. Anxiety makes us pay attention to what's going on,” writes Schnarch. During sex, couples should focus on the connection, working on truly feeling their partner as they touch them. Also good is “hugging til relaxed,” which is pretty much what it sounds like. Test drive: Try for “eyes-open orgasm.” Looking deep into each other's eyes adds intimacy and meaning to sex. The more you do it, the longer you can do it and the deeper the connection. For further reading: "Passionate Marriage: Keeping Love and Intimacy Alive in Committed Relationships." * This, however, does not explain why there are so many strip clubs called Deja Vu. Jill Hamilton writes In Bed With Married Women (www.inbedwithmarriedwomen.com. Follow her on Twitter @Jill_Hamilton. AlterNet “There are only two tragedies in life: one is not getting what one wants, the other is getting it,” said Oscar Wilde. Passion is a tricky, elusive thing. Once captured, it flounders. But why does it wither when domesticated? Why do sexy intense beginnings so often lead to boring, sexless or otherwise meh middles and endings? Why aren't we having sex with our dear, highly-available partners, like, all the time? “Our senses crave novelty. Any change alerts them, and they send a signal into the brain. If there's no change, no novelty, they doze and register little or nothing. A constant state—even of excitement—in time becomes tedious, fades in the background because our senses have evolved to report only changes,” writes Diane Ackerman in "A Natural History of the Senses."* Or, says my friend Matthew, who thinks deeply on such things: “Once you're with someone, they become your family. And you don't want to have sex with people in your family.” Which is true enough, especially that last bit. But you can rekindle passion, at least according to the top Big Thinkers in the field, who offer differing—sometimes wildly so—theories on how to do it. By reframing things a bit, you can soon be happily fucking your beloved family member once again. Though you'll probably want to phrase that differently in your head. 1. Marnia Robinson Cred: Corporate lawyer-turned-writer and speaker on sex, relationships and porn. Co-hosts Your Brain on Porn website with husband Gary Wilson. The Big Idea: Karezza sex (slow sex without attempting orgasm) can help hack your neurochemicals. The Fix: The neurochemicals that make us so giddy with the first flush of love only last two years, tops. After that, the buzz wears off and couples get habituated (the nicer, more sciencey term for bored). Instead of trying to jack things up with new positions or sexy clown costumes that can further numb response to pleasure, slow things down with karezza sex, a form of affectionate, sensual sex that generally doesn't result in orgasm. This sex, according to Robinson, strengthens lovers' bonds and results in more frequent and satisfying sex. “It's like learning to diet by eating smarter, rather than struggling to eat less,” writes Robinson. “As my husband says, 'My limbic brain stays enchanted because I don't attempt to fertilize you.'” (Her husband, it will not surprise you to learn, is a science professor.) Test drive: Practice a “bonding behavior” like gazing into each other's eyes for several minutes or lying with your head on your partner's chest and listening to their heartbeat or synchronized breathing. Further reading:  "Cupid's Poisoned Arrow: From Habit to Harmony in Sexual Relationships." 2. Shmuley Boteach Cred: American Orthodox rabbi, author and TV host. The Big Idea: Women are deep and endless sources of sexuality. Exploring that eroticism leads to richer, more profound sexual/spiritual connection. The Fix: A woman's sexuality is “much deeper and longer lasting than a man's. In the face of such intensity, most husbands fear they can't measure up,” writes Boteach in "The Kosher Sutra: 8 Sacred Secrets for Reigniting Desire and Restoring Passion for Life." But for the husband who's brave enough to jump in there and explore, there are sublime pleasures to be uncovered. “There is a part of us, a passionate part that is raw, instinctive, animal, visceral, and not attuned to social norms. It's incredibly erotic to witness this side of a person become revealed. A man who can arouse a woman to this level of abandonment witnesses something incredible,” writes Boteach, in perhaps the hottest collection of sentences you'll ever read by a rabbi. This deep sensuality flows into the rest of life, giving everything an “erotic pulse.” To get to that place, Boteach recommends “Kosher Tantric” sex, including delayed orgasm to prolong sex, making it into “a worship of the divine spark in each other.” He's also against going to the bathroom in front of each other—ruins the mystery. Test drive: Try the Jewish custom of abstaining from sex for two weeks when the woman starts her period. “Every month, there must be two weeks devoted to physical love, and two weeks devoted to intellectual communication and emotional intimacy," Boteach writes in "Kosher Sex: A Recipe for Passion and Intimacy." It may sound a bit old school and rigid, but the forbiddenness fostered by abstinence can build lust, plus the on/off plan happens to correspond nicely with most women's monthly swings of desire. Further reading:  "The Kosher Sutra: 8 Sacred Secrets for Reigniting Desire and Restoring Passion for Life." 3. Esther Perel Cred: Writer, speaker, couples and family therapist. The Big Idea: We need safety and security in a relationship, yet we also need adventure and excitement. The problem is that satisfying either of these needs sort of negates the other. The trick is riding the wave between security and excitement, figuring out ways to introduce novelty, risk and mystery into the familiar and comfortable. The Fix: The erotic thrives on power plays, thwarted desire, threats of rivals and other non-safe and lovey ideas. Tap into these rich sources of desire by questioning your ideas about what's “acceptable” to you. For a lot of people, the greatest sources of excitement and pleasure have to do with childhood hurts. Being willing to poke around in these dark areas of your erotic brain is a potent natural fuel for pleasure. Test drive: Embrace the “shadow of the third.” In every relationship, there are other players, whether actual infidelities, flirtations or agreed-upon partners. Accepting this and working with it—whether by actually introducing others into your marital sex, negotiating monogamy or just feeling the arousal of a threat (perceived or real) of a romantic rival—beats complacency back and helps you see your mate as the desirable creature that they are. For further reading: "Mating in Captivity: Reconciling the Erotic + the Domestic" 4. John Gottman, Ph.D. and Julie Gottman, Ph.D.  Cred: Husband and wife psychologists who run the Gottman Institute and the Relationship Research Institute. The Big Idea: Married people do best when they behave like good friends and handle conflicts in gentle positive ways. The Fix: The Gottmans are known for their Love Labs, in which they observed couples and found that future divorcees tended to handle conflict via what the Gottmans call “The 4 Horsemen of the Apocalypse”: stonewalling, contempt, defensiveness and withdrawal. So don't do those. Good behaviors, which lack a catchy 4 Horseman-like name: Respond positively to your partner's “bids” (bids are requests for emotional connections via a question, quick hug and such). Create a love map—a mental list of your partner's preferences, dreams and sexual proclivities. Create rituals for initiating and refusing sex to minimize miscommunication and feelings of rejection. The resulting atmosphere of kindness and communication is conducive to “personal sex” that's focused on intimacy instead of intercourse. Test Drive: “Plan time for activities like hot baths, back rubs, touching, holding and simply making each other feel good physically and emotionally. If sex happens, that's fine. But if it doesn't, you'll still have met your expectation of enjoying time together,” advise the Gottmans. Further reading: "The Seven Principles for Making Marriage Work" 5. David Schnarch, Ph.D. Cred: Psychologist, sex therapist and director of the Marriage and Family Health Institute. The Big Idea: Passion (as well as a healthy relationship) depends on “differentiation,” that is, each partner cultivating a strong sense of self, despite his or her partner's (very normal) efforts to thwart that growth. The Fix: When partners work on becoming differentiated, it creates tension and gridlock. This, coupled with what Schnarch delightfully calls “normal marital sadism,” can lead to marital breakdown, but it's actually an opportunity. Gridlock and tension create a dynamic environment for growth and help passion thrive. Anxiety is also good. Instead of working on anxiety reduction, couples should work on ways to tolerate anxiety via self-soothing. “Anxiety is often part of the best sex we ever have. It's part of growing sexually. Anxiety makes us pay attention to what's going on,” writes Schnarch. During sex, couples should focus on the connection, working on truly feeling their partner as they touch them. Also good is “hugging til relaxed,” which is pretty much what it sounds like. Test drive: Try for “eyes-open orgasm.” Looking deep into each other's eyes adds intimacy and meaning to sex. The more you do it, the longer you can do it and the deeper the connection. For further reading: "Passionate Marriage: Keeping Love and Intimacy Alive in Committed Relationships." * This, however, does not explain why there are so many strip clubs called Deja Vu. Jill Hamilton writes In Bed With Married Women (www.inbedwithmarriedwomen.com. Follow her on Twitter @Jill_Hamilton. AlterNet “There are only two tragedies in life: one is not getting what one wants, the other is getting it,” said Oscar Wilde. Passion is a tricky, elusive thing. Once captured, it flounders. But why does it wither when domesticated? Why do sexy intense beginnings so often lead to boring, sexless or otherwise meh middles and endings? Why aren't we having sex with our dear, highly-available partners, like, all the time? “Our senses crave novelty. Any change alerts them, and they send a signal into the brain. If there's no change, no novelty, they doze and register little or nothing. A constant state—even of excitement—in time becomes tedious, fades in the background because our senses have evolved to report only changes,” writes Diane Ackerman in "A Natural History of the Senses."* Or, says my friend Matthew, who thinks deeply on such things: “Once you're with someone, they become your family. And you don't want to have sex with people in your family.” Which is true enough, especially that last bit. But you can rekindle passion, at least according to the top Big Thinkers in the field, who offer differing—sometimes wildly so—theories on how to do it. By reframing things a bit, you can soon be happily fucking your beloved family member once again. Though you'll probably want to phrase that differently in your head. 1. Marnia Robinson Cred: Corporate lawyer-turned-writer and speaker on sex, relationships and porn. Co-hosts Your Brain on Porn website with husband Gary Wilson. The Big Idea: Karezza sex (slow sex without attempting orgasm) can help hack your neurochemicals. The Fix: The neurochemicals that make us so giddy with the first flush of love only last two years, tops. After that, the buzz wears off and couples get habituated (the nicer, more sciencey term for bored). Instead of trying to jack things up with new positions or sexy clown costumes that can further numb response to pleasure, slow things down with karezza sex, a form of affectionate, sensual sex that generally doesn't result in orgasm. This sex, according to Robinson, strengthens lovers' bonds and results in more frequent and satisfying sex. “It's like learning to diet by eating smarter, rather than struggling to eat less,” writes Robinson. “As my husband says, 'My limbic brain stays enchanted because I don't attempt to fertilize you.'” (Her husband, it will not surprise you to learn, is a science professor.) Test drive: Practice a “bonding behavior” like gazing into each other's eyes for several minutes or lying with your head on your partner's chest and listening to their heartbeat or synchronized breathing. Further reading:  "Cupid's Poisoned Arrow: From Habit to Harmony in Sexual Relationships." 2. Shmuley Boteach Cred: American Orthodox rabbi, author and TV host. The Big Idea: Women are deep and endless sources of sexuality. Exploring that eroticism leads to richer, more profound sexual/spiritual connection. The Fix: A woman's sexuality is “much deeper and longer lasting than a man's. In the face of such intensity, most husbands fear they can't measure up,” writes Boteach in "The Kosher Sutra: 8 Sacred Secrets for Reigniting Desire and Restoring Passion for Life." But for the husband who's brave enough to jump in there and explore, there are sublime pleasures to be uncovered. “There is a part of us, a passionate part that is raw, instinctive, animal, visceral, and not attuned to social norms. It's incredibly erotic to witness this side of a person become revealed. A man who can arouse a woman to this level of abandonment witnesses something incredible,” writes Boteach, in perhaps the hottest collection of sentences you'll ever read by a rabbi. This deep sensuality flows into the rest of life, giving everything an “erotic pulse.” To get to that place, Boteach recommends “Kosher Tantric” sex, including delayed orgasm to prolong sex, making it into “a worship of the divine spark in each other.” He's also against going to the bathroom in front of each other—ruins the mystery. Test drive: Try the Jewish custom of abstaining from sex for two weeks when the woman starts her period. “Every month, there must be two weeks devoted to physical love, and two weeks devoted to intellectual communication and emotional intimacy," Boteach writes in "Kosher Sex: A Recipe for Passion and Intimacy." It may sound a bit old school and rigid, but the forbiddenness fostered by abstinence can build lust, plus the on/off plan happens to correspond nicely with most women's monthly swings of desire. Further reading:  "The Kosher Sutra: 8 Sacred Secrets for Reigniting Desire and Restoring Passion for Life." 3. Esther Perel Cred: Writer, speaker, couples and family therapist. The Big Idea: We need safety and security in a relationship, yet we also need adventure and excitement. The problem is that satisfying either of these needs sort of negates the other. The trick is riding the wave between security and excitement, figuring out ways to introduce novelty, risk and mystery into the familiar and comfortable. The Fix: The erotic thrives on power plays, thwarted desire, threats of rivals and other non-safe and lovey ideas. Tap into these rich sources of desire by questioning your ideas about what's “acceptable” to you. For a lot of people, the greatest sources of excitement and pleasure have to do with childhood hurts. Being willing to poke around in these dark areas of your erotic brain is a potent natural fuel for pleasure. Test drive: Embrace the “shadow of the third.” In every relationship, there are other players, whether actual infidelities, flirtations or agreed-upon partners. Accepting this and working with it—whether by actually introducing others into your marital sex, negotiating monogamy or just feeling the arousal of a threat (perceived or real) of a romantic rival—beats complacency back and helps you see your mate as the desirable creature that they are. For further reading: "Mating in Captivity: Reconciling the Erotic + the Domestic" 4. John Gottman, Ph.D. and Julie Gottman, Ph.D.  Cred: Husband and wife psychologists who run the Gottman Institute and the Relationship Research Institute. The Big Idea: Married people do best when they behave like good friends and handle conflicts in gentle positive ways. The Fix: The Gottmans are known for their Love Labs, in which they observed couples and found that future divorcees tended to handle conflict via what the Gottmans call “The 4 Horsemen of the Apocalypse”: stonewalling, contempt, defensiveness and withdrawal. So don't do those. Good behaviors, which lack a catchy 4 Horseman-like name: Respond positively to your partner's “bids” (bids are requests for emotional connections via a question, quick hug and such). Create a love map—a mental list of your partner's preferences, dreams and sexual proclivities. Create rituals for initiating and refusing sex to minimize miscommunication and feelings of rejection. The resulting atmosphere of kindness and communication is conducive to “personal sex” that's focused on intimacy instead of intercourse. Test Drive: “Plan time for activities like hot baths, back rubs, touching, holding and simply making each other feel good physically and emotionally. If sex happens, that's fine. But if it doesn't, you'll still have met your expectation of enjoying time together,” advise the Gottmans. Further reading: "The Seven Principles for Making Marriage Work" 5. David Schnarch, Ph.D. Cred: Psychologist, sex therapist and director of the Marriage and Family Health Institute. The Big Idea: Passion (as well as a healthy relationship) depends on “differentiation,” that is, each partner cultivating a strong sense of self, despite his or her partner's (very normal) efforts to thwart that growth. The Fix: When partners work on becoming differentiated, it creates tension and gridlock. This, coupled with what Schnarch delightfully calls “normal marital sadism,” can lead to marital breakdown, but it's actually an opportunity. Gridlock and tension create a dynamic environment for growth and help passion thrive. Anxiety is also good. Instead of working on anxiety reduction, couples should work on ways to tolerate anxiety via self-soothing. “Anxiety is often part of the best sex we ever have. It's part of growing sexually. Anxiety makes us pay attention to what's going on,” writes Schnarch. During sex, couples should focus on the connection, working on truly feeling their partner as they touch them. Also good is “hugging til relaxed,” which is pretty much what it sounds like. Test drive: Try for “eyes-open orgasm.” Looking deep into each other's eyes adds intimacy and meaning to sex. The more you do it, the longer you can do it and the deeper the connection. For further reading: "Passionate Marriage: Keeping Love and Intimacy Alive in Committed Relationships." * This, however, does not explain why there are so many strip clubs called Deja Vu. Jill Hamilton writes In Bed With Married Women (www.inbedwithmarriedwomen.com. Follow her on Twitter @Jill_Hamilton.

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Published on September 30, 2015 15:00

“The Walk” between the Twin Towers: Amazing technical wizardry powers a tale of fake transcendence

I can understand why the people who make decisions in Hollywood thought that the story of Philippe Petit, the French wirewalker who staged an improbable and illegal walk between the Twin Towers of the World Trade Center in August of 1974, might make a good movie. After all, the Oscar-winning documentary about Petit’s death-defying stunt or artwork or whatever it was, “Man on Wire,” played out almost like a heist thriller and, without hitting us over the head with 9/11 references, made the point that Petit’s walk belonged to a simultaneously more innocent and more chaotic era. Especially in the era of full-scale digital effects inaugurated by “Gravity” – we could almost call it digital totality – recreating 110-story buildings that no longer exist, above an altered cityscape, is more possible now than ever before. I can also understand, in a more abstract way, why Robert Zemeckis, the onetime Spielberg acolyte who directed the “Back to the Future” trilogy, “Who Framed Roger Rabbit,” “Forrest Gump,” “Flight” and now “The Walk,” has a devoted fan base among movie buffs. Zemeckis is devoted to making well-crafted popcorn movies, and has always tried to use cutting-edge special effects to tell stories, rather than just to bludgeon the audience into submission. I definitely understand the appeal of Joseph Gordon-Levitt, who plays Philippe Petit in “The Walk.” Gordon-Levitt is an immensely likable and talented actor who from his first days in show business has understood himself as both an artist and an entertainer, which is exactly how Petit sees himself as well. Put those ingredients together, and what do you get? I almost don’t know how to describe it, except with overlapping and contradictory clichés. “The Walk” is much less than the sum of its parts, except when the parts are so good you can’t ignore them. If this were a short film, almost entirely about Petit’s startling and breathtaking stroll, 1,200 or so feet above the streets of lower Manhattan – he walked back and forth between the towers three times, knelt on the wire and even lay down on it to commune with passing seagulls -- it would be magnificent. The event itself, although dangerous, impractical and inherently pointless, possessed a certain magnificence that captured the imagination of New Yorkers at the time, and that Zemeckis and Gordon-Levitt gesture toward without quite reaching. But for most of the film’s two-hour running time (and it feels a bit longer than that), “The Walk” makes no effort to confront the central question that faces all mainstream American movies in this decade, and maybe all cinema of all kinds: Why am I watching this, instead of watching something on TV that is quite likely to be dramatically superior, and told in a less condescending and less ostentatious manner? If the 3-D IMAX bigness of “The Walk” is supposed to be its own reward, or to make up for the film’s superabundance of flaws – well, I’m sorry, but I’m not aboard that train and I’m not sure anyone else is either. At the risk of causing anguish among Zemeckis loyalists, I will point out that in addition to the films mentioned above, this is the guy who directed “Beowulf,” “The Polar Express” and the 2009 Jim Carrey version of “A Christmas Carol.” It wouldn’t be fair to consign “The Walk” to that category of overprocessed, patronizing and forgettable (not to mention unintentionally terrifying, in the case of the Santa-goes-to-Nuremberg nightmare of “Polar Express”), but that strain of Zemeckis-ness is unmistakably present here. Gordon-Levitt narrates much of the movie as Petit, while atop an imaginary perch on the shoulder of the Statue of Liberty. I have no way of knowing whether that was in the script all along (which is by Zemeckis and Christopher Browne, and was based on Petit’s memoir) or was spawned by last-minute producer panic: “Nobody’s gonna understand this story unless we explain the whole damn thing!” But in either case it’s a bad decision made worse by enforced whimsy: Gordon-Levitt hams up Petit’s Franglais just a little (in life, the wirewalker speaks fluent English) and wears, I swear to God, a black turtleneck. I'm sure that at some point they tried him out with a red beret and a digital platter of snails, before deciding that was un petit peu de trop. By the time we actually reach Petit’s exhilarating walk on an August morning high above a depressed, crime-ridden and nearly bankrupt city (I suppose this is irrelevant, but Petit’s artistic coup made headlines just two days before Richard Nixon’s resignation), I was simply exhausted by Zemeckis’ oppressive insistence that I was being told a valuable, thrilling and humorous story, and was having a good time. I was worn down, first of all, by the bogus picture-postcard cuteness of the film’s depiction of early-‘70s Paris, which in the real world was a troubled and divided city struggling with the wounds of 1968. I was worn down by the winsome comparisons of the young Petit to Charlie Chaplin, by the storybook artifice of his childhood as a circus-obsessed kid in a remote French village, and by the overly obvious way the script moves the character from speaking French to speaking English, long before he leaves his homeland. (To my Yank ears. Gordon-Levitt’s French is pretty good, but it’s not likely to sound convincing to native speakers.) I was annoyed by the Pointless Winsome Parisian Girlfriend played by Charlotte Le Bon, whose actions in the film consist of strumming a Leonard Cohen song and staring deeply into Petit’s eyes. I was extra-double-annoyed by the Central Casting “Noo Yawk” accents of literally everyone he encounters when Petit comes to America, and by the crowd scenes where every single extra has been positioned to help focus our attention and is acting his or her ass off. Of course I understand that Zemeckis is not pursuing realism – or at least he’d better not be, since there is no attempt to depict the social fabric of either city -- and that the manicured artifice of “The Walk” represents a series of deliberate choices. But are they good choices, or useful choices? When Zemeckis and cinematographer Dariusz Wolski and their immense modeling and digital design team deliver the wordless and transcendent experience of a man risking his life (and the lives of others) for a purpose that cannot be explained and quite likely cannot be justified, they hint at the nature of Petit’s inexplicable achievement. But “The Walk” comes nowhere close to what “Man on Wire” accomplished in terms of elucidating how and why this extraordinary coup (the right word in both French and English) was pulled off. And along the way Zemeckis undercuts the entire enterprise so thoroughly with a pompous, preachy, prettified collection of stereotypes and archetypes, stuffed with pre-baked homilies about the importance of wonder and dreams, that the transcendence feels unearned and untrustworthy. I admire his delicate final codicil, which recognizes that something happened to those buildings 27 years after Petit’s walk that lends his story special resonance, without ever mentioning what that was or showing us how that part of the island looks today. In those last images, I felt “The Walk” finally shed the turtleneck, the beret and the fake French accent and address us directly, just as it fades to black.

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Published on September 30, 2015 14:59

What James Dean could teach Matt Damon about keeping your sexuality “one of those mysteries”

For 60 years, since James Dean died in a car crash on the late afternoon of Sept. 30, 1955, at age 24, a debate has raged about him. Was he straight, gay, bisexual? Actually, the debate has been going on for longer than that. Even while he was alive, there were rumors about his private life. He didn’t help matters any when he once answered a question about his sexual orientation by saying, “No, I’m not homosexual. But I am also not going through life with one hand tied behind my back.” Then again, Dean came to fame in the mid-'50s, when everyone was straight. Clark Gable was straight and Gary Cooper was straight and Spencer Tracy was straight, and — to the public at least — Rock Hudson was straight and Greta Garbo was straight and Tab Hunter was straight. There were no homosexuals. They didn’t exist. This was the era of the celluloid closet, when there were no gay characters in pictures and no gay actors in Hollywood. To make sure that remained true, one had to look no further than the Hays Code or the press departments at the studios. Indeed, in the photo opportunities set up for Dean by Warner Bros., the studio that released his three pictures — "East of Eden," "Rebel Without a Cause" and "Giant" — he was depicted as dashing, handsome and, above all else, heterosexual. He was photographed attending movie premiers with starlets like Terry Moore and Natalie Wood. He went on a handful of dates with Ursula Andress, all of them carefully documented with pictures. But Warner Bros.’s pièce de résistance came when it arranged for Dean to have a six-week “romance” with MGM hot property Pier Angeli, generating numerous news stories and fan magazine articles. According to press reports, the couple was deeply in love, but the affair ended abruptly when Angeli chose to marry not Dean but pop singer Vic Damone. Here is the problem with the image of Dean Warner Bros. manufactured at the time. It wasn’t accurate. While he did have affairs with women, his substantive relationships were with men. Throughout the '50s and '60s, the rumors about Dean’s sexuality remained just that — rumors. Then, in the '70s, sexual politics began to change. Slowly, gay people, famous and ordinary, gained visibility. By 1975, Jonathan Gilmore, an actor who was a close friend of Dean, felt he could reveal in "The Real James Dean" that their friendship included sexual experimentation. That same year, biographer Ronald Martinetti reported in "The James Dean Story" about Dean’s involvement with Rogers Brackett. A successful advertising executive in Los Angeles, Brackett opened doors for Dean and eventually moved him to New York where he helped him land his first show on Broadway. “I loved him and Jimmy loved me,” Brackett told Martinetti. “If it was a father-son relationship, it was also somewhat incestuous.” Then, in 1992, in "Little Boy Lost," journalist Joe Hyams disclosed that Dean’s first meaningful relationship occurred while he was growing up in Fairmount, Indiana. As most of his contemporaries were going steady with girls, Dean became involved with a local Wesleyan minister named James DeWeerd. “Jimmy never mentioned our relationship nor did I,” DeWeerd said to Hyams. “It would not have helped either of us.” In 1994, I published "Boulevard of Broken Dreams: The Life, Times, and Legend of James Dean." Even though previous books had made disclosures about Dean’s homosexuality, my book was generally perceived as outing him, since I documented his affairs with men, both short- and long-term. This seemed to disturb critics. Publishers Weekly called the book “a graphic sexual biography that’s likely to shock Dean fans.” Entertainment Weekly described the book with adjectives like “steamy,” “soggy,” “skewed.” Time spent a page attacking me before concluding, “Alexander’s inferences about Dean’s private life may make for cocktail-party chatter, but they finally are irrelevant.” William Bast didn’t think so. For five years, he and Dean had had a complicated involvement, starting in college when they shared a small apartment in Santa Monica, continuing when they lived in a room at the Iroquois Hotel in New York, and going all the way up to the time Dean died when, Bast would claim, they planned on moving into a house together in Los Angeles. Bast had written the first biography of Dean, "James Dean," published the year after he died. Naturally, this being 1956, there was no mention of homosexuality. Through the years, as Bast became a successful television writer, producing mainstream fare like "The Hamptons" and "The Colbys," he maintained his friendship with Dean was platonic. So I was careful not to say their on-again, off-again friendship was sexual. Instead, I said they were so close friends thought they were having an affair. That wasn’t good enough for Bast who filed a lawsuit against me in federal court in California. According to Bast, "Boulevard of Broken Dreams" “falsely accuses me of having had a long term (often sleazy) sexual relationship with Dean.” Despite my careful use of language, he believed “no one could come away from reading the book without understanding the book to report (falsely) a five year sexual affair between Dean and me.” His lawyer added: “Plaintiff [Bast] has done nothing to deserve being so falsely portrayed in the public’s eye. As a matter of law, this false portrayal is defamatory per se…. [B]eing so portrayed around the world has thrust Plaintiff [Bast] into the public eye in a way that he does not want and which upsets him deeply.” Depositions were conducted. We were getting ready to go to trial. Then suddenly Bast dropped the suit on the condition that future editions of my book include a denial that he had had an affair with Dean. That was 1995. Fast forward to 2006. Three and a half decades after Stonewall, the public’s perception of homosexuality had changed fundamentally. Entertainers like Ellen DeGeneres and Elton John had come out only to see their careers skyrocket. The gay marriage movement had taken hold with the first state, Massachusetts, legalizing same-sex marriage in 2004. And in certain circles in Hollywood it was now trendy to be gay. So Bast published "Surviving James Dean," in which he documented his five-year love affair with Dean, what he had sued me for a decade earlier. The book’s cover claimed this new “uncompromisingly honest, revealing” book “boldly addresses the task [Bast] began [in James Dean] but was unable to do justice to at the time, owing to legal constraints imposed by his publishers, by Dean’s studio Warner Bros., and out of respect for the actor’s own family.” So in the past Bast was unable to tell the truth about his and Dean’s relationship for legal reasons! There was no mention of the fact that when I merely alluded to the true nature of their relationship Bast hauled me into court. To be fair, sexuality is often hard to describe, much less document. Since I published "Boulevard," I discovered evidence of an affair Dean had with Geraldine Page, the now legendary Academy Award-winning actress, while they appeared on Broadway in "The Immoralist." I describe the affair in my new portrait of Dean, "Being James Dean." As it happened, it was just after he stopped seeing Page, to go to California to shoot "East of Eden," that Dean consummated his affair with Bast in a hotel room in the Sonoran Desert not far from San Diego. Or so Bast revealed in "Surviving James Dean" — finally. It’s ironic that Hollywood, a staunch defender of liberal causes for decades, has had such a struggle dealing with the sexuality of the stars it creates. The problem of how and when to talk about it, and why, has not gone away either. Consider Tom Hardy, who was asked by a journalist at a recent press conference to discuss his sexuality and responded with a curt “Why?” Or Matt Damon, who now-famously announced, “It must be really hard for actors to be out publicly…. I think you’re a better actor the less people know about you, period. And sexuality is a huge part of that,” going on to call it "one of the mysteries that you should be able to play." Sixty years may have passed, but in some ways the thinking in Hollywood has not evolved much beyond the way it was the day James Dean died, at least as far as actors and their sexuality is concerned.For 60 years, since James Dean died in a car crash on the late afternoon of Sept. 30, 1955, at age 24, a debate has raged about him. Was he straight, gay, bisexual? Actually, the debate has been going on for longer than that. Even while he was alive, there were rumors about his private life. He didn’t help matters any when he once answered a question about his sexual orientation by saying, “No, I’m not homosexual. But I am also not going through life with one hand tied behind my back.” Then again, Dean came to fame in the mid-'50s, when everyone was straight. Clark Gable was straight and Gary Cooper was straight and Spencer Tracy was straight, and — to the public at least — Rock Hudson was straight and Greta Garbo was straight and Tab Hunter was straight. There were no homosexuals. They didn’t exist. This was the era of the celluloid closet, when there were no gay characters in pictures and no gay actors in Hollywood. To make sure that remained true, one had to look no further than the Hays Code or the press departments at the studios. Indeed, in the photo opportunities set up for Dean by Warner Bros., the studio that released his three pictures — "East of Eden," "Rebel Without a Cause" and "Giant" — he was depicted as dashing, handsome and, above all else, heterosexual. He was photographed attending movie premiers with starlets like Terry Moore and Natalie Wood. He went on a handful of dates with Ursula Andress, all of them carefully documented with pictures. But Warner Bros.’s pièce de résistance came when it arranged for Dean to have a six-week “romance” with MGM hot property Pier Angeli, generating numerous news stories and fan magazine articles. According to press reports, the couple was deeply in love, but the affair ended abruptly when Angeli chose to marry not Dean but pop singer Vic Damone. Here is the problem with the image of Dean Warner Bros. manufactured at the time. It wasn’t accurate. While he did have affairs with women, his substantive relationships were with men. Throughout the '50s and '60s, the rumors about Dean’s sexuality remained just that — rumors. Then, in the '70s, sexual politics began to change. Slowly, gay people, famous and ordinary, gained visibility. By 1975, Jonathan Gilmore, an actor who was a close friend of Dean, felt he could reveal in "The Real James Dean" that their friendship included sexual experimentation. That same year, biographer Ronald Martinetti reported in "The James Dean Story" about Dean’s involvement with Rogers Brackett. A successful advertising executive in Los Angeles, Brackett opened doors for Dean and eventually moved him to New York where he helped him land his first show on Broadway. “I loved him and Jimmy loved me,” Brackett told Martinetti. “If it was a father-son relationship, it was also somewhat incestuous.” Then, in 1992, in "Little Boy Lost," journalist Joe Hyams disclosed that Dean’s first meaningful relationship occurred while he was growing up in Fairmount, Indiana. As most of his contemporaries were going steady with girls, Dean became involved with a local Wesleyan minister named James DeWeerd. “Jimmy never mentioned our relationship nor did I,” DeWeerd said to Hyams. “It would not have helped either of us.” In 1994, I published "Boulevard of Broken Dreams: The Life, Times, and Legend of James Dean." Even though previous books had made disclosures about Dean’s homosexuality, my book was generally perceived as outing him, since I documented his affairs with men, both short- and long-term. This seemed to disturb critics. Publishers Weekly called the book “a graphic sexual biography that’s likely to shock Dean fans.” Entertainment Weekly described the book with adjectives like “steamy,” “soggy,” “skewed.” Time spent a page attacking me before concluding, “Alexander’s inferences about Dean’s private life may make for cocktail-party chatter, but they finally are irrelevant.” William Bast didn’t think so. For five years, he and Dean had had a complicated involvement, starting in college when they shared a small apartment in Santa Monica, continuing when they lived in a room at the Iroquois Hotel in New York, and going all the way up to the time Dean died when, Bast would claim, they planned on moving into a house together in Los Angeles. Bast had written the first biography of Dean, "James Dean," published the year after he died. Naturally, this being 1956, there was no mention of homosexuality. Through the years, as Bast became a successful television writer, producing mainstream fare like "The Hamptons" and "The Colbys," he maintained his friendship with Dean was platonic. So I was careful not to say their on-again, off-again friendship was sexual. Instead, I said they were so close friends thought they were having an affair. That wasn’t good enough for Bast who filed a lawsuit against me in federal court in California. According to Bast, "Boulevard of Broken Dreams" “falsely accuses me of having had a long term (often sleazy) sexual relationship with Dean.” Despite my careful use of language, he believed “no one could come away from reading the book without understanding the book to report (falsely) a five year sexual affair between Dean and me.” His lawyer added: “Plaintiff [Bast] has done nothing to deserve being so falsely portrayed in the public’s eye. As a matter of law, this false portrayal is defamatory per se…. [B]eing so portrayed around the world has thrust Plaintiff [Bast] into the public eye in a way that he does not want and which upsets him deeply.” Depositions were conducted. We were getting ready to go to trial. Then suddenly Bast dropped the suit on the condition that future editions of my book include a denial that he had had an affair with Dean. That was 1995. Fast forward to 2006. Three and a half decades after Stonewall, the public’s perception of homosexuality had changed fundamentally. Entertainers like Ellen DeGeneres and Elton John had come out only to see their careers skyrocket. The gay marriage movement had taken hold with the first state, Massachusetts, legalizing same-sex marriage in 2004. And in certain circles in Hollywood it was now trendy to be gay. So Bast published "Surviving James Dean," in which he documented his five-year love affair with Dean, what he had sued me for a decade earlier. The book’s cover claimed this new “uncompromisingly honest, revealing” book “boldly addresses the task [Bast] began [in James Dean] but was unable to do justice to at the time, owing to legal constraints imposed by his publishers, by Dean’s studio Warner Bros., and out of respect for the actor’s own family.” So in the past Bast was unable to tell the truth about his and Dean’s relationship for legal reasons! There was no mention of the fact that when I merely alluded to the true nature of their relationship Bast hauled me into court. To be fair, sexuality is often hard to describe, much less document. Since I published "Boulevard," I discovered evidence of an affair Dean had with Geraldine Page, the now legendary Academy Award-winning actress, while they appeared on Broadway in "The Immoralist." I describe the affair in my new portrait of Dean, "Being James Dean." As it happened, it was just after he stopped seeing Page, to go to California to shoot "East of Eden," that Dean consummated his affair with Bast in a hotel room in the Sonoran Desert not far from San Diego. Or so Bast revealed in "Surviving James Dean" — finally. It’s ironic that Hollywood, a staunch defender of liberal causes for decades, has had such a struggle dealing with the sexuality of the stars it creates. The problem of how and when to talk about it, and why, has not gone away either. Consider Tom Hardy, who was asked by a journalist at a recent press conference to discuss his sexuality and responded with a curt “Why?” Or Matt Damon, who now-famously announced, “It must be really hard for actors to be out publicly…. I think you’re a better actor the less people know about you, period. And sexuality is a huge part of that,” going on to call it "one of the mysteries that you should be able to play." Sixty years may have passed, but in some ways the thinking in Hollywood has not evolved much beyond the way it was the day James Dean died, at least as far as actors and their sexuality is concerned.

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Published on September 30, 2015 14:58