wanting to be vital, in things/ like more than walking around but really invested in a life I can’t back out of/ commitment/ courage/ resilience, these are moral, marble-cut monolithic words/ out of date, last seasons jeans, a hazy memory like your mothers’ pair from the 1980’s, the musty smell of dried owers and wood-paneled walls, a classic cut that’s never really in style and never really out, she wore them digging in the garden and driving to the grocery store, when you ache for the shadow of a loss you search in a thrift store or a chain store for the replica to appropriate what was once vivid, or maybe you, too, can try on the likeness of women who don’t know their own strength/ it’s about survivors, not heroines, and second, third, fourth acts- everybody gets another shot/ who doesn’t believe in mentors? There are no girl-wonders/ I’ve always packed away an exit strategy in the hidden recesses of my mind But disappointment as a departure point un-tempered with hope is impoverished, Her world wasn’t built on dreams; but of trade-offs and settling for what you can get/ belonging somewhere in the realm of contemporary myth and romance
There can be reserves of hope in the singularity of these moments and in vitality and resistance / self actualization in constant bloom, vibrant, restless women, rueful perspectives even when hopelessly anchored You don’t have an experience, it has you it is ineffable
Behind the curtain is a mirror revealed and you will encounter yourself in a new and heightened way; it’s impossible to do anything independent of anything else What have been called heroic societies seem to have formed in conscious rejection of the values of urban civilizations / He said Alice Doesn’t Live Here Anymore was not a feminist tract, it was a lm about self-responsibility and about how people make the same mistakes again and again
In Gas Food Lodging, a waitress and her two daughters come to terms with sexual, emotional and familial lives / You can have an upbeat take on obstacles; I realized the conditions would always be dif cult so why wait? be not from a place but from a sense of rupture so that leaving is always a salute to the seed planted / you will know the tree by its fruit / as iron sharpens iron/ there is no triumph in leaving the beams of a house bare/ But I wave my white ag in extreme happiness
instead of leaps into the unknown think about all the things you’ve been through and can be wrapped and tied up in a big shiny bow/ There’s no resolution here and not much in the way of action it doesn’t matter if you can’t read, it doesn’t matter that you can’t see So now I am building an attic of static threadbare memories, your life is opening up to me
wrench the little planted seed from its analogy I’m proud I was proud I wore a crown when I walked the streets
and people knew my face and people knew my name
anti-heroine takes its cue from a state of refusal or active departure where the self-suf ciency of any heroine anti or otherwise is always apparent. Sometimes a fear can be that withdrawing or subsisting on the margins means your world will shrink when in fact the capacity for it to be enlarged is great.
Gathering multiple voices means voiceover can be a literary device that becomes a character in itself, a read sound of interdependent fragments that can reveal or imagine the inner lives of an individual. anti-heroine pivots upon multiple narrators through text and art practices, a collection of attentively shaped observations and embodiments, lived experiences and found moments, primarily concerned with how women see their world.