Athens Is Ready for Its Close-up

"Thanks to a generous state tax credit—20 percent, plus an additional 10 percent if a production includes the Georgia logo and a link to the state’s film office—the state is seeing an explosion of film production. This tax credit is cited not only by economic development professionals, but also by local filmmakers who have seen more work come to the state in general. 

"Last year alone saw 142 feature film and television projects take place in Georgia, contributing $940 million in direct spending, according to Emily Murray of the Georgia Film, Music and Digital Entertainment Office"

I get that this is “good for the local economy” or whatever but attn: Marie, can we make t-shirts that say “DO NOT FILM” because today I had to sneak through the grocery store all wrapped up in my hoodie so that I wouldn’t accidentally be on Party Down South :/

"Two on, two out, two and two, bottom of the 9th — god, I’m gonna shit my pants. Did I say that already?"

Braves at Mets

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I have phases of getting obsessed with dude bands that could easily be totally obnoxious especially when played incessantly (choice groups over the past coupla years include mclusky/future of the left, the White Stripes, the Black Keys, Quintron, the Dandy Warhols) but it’s okay because p. is really into the Beatles.

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Pain & Wonder (Matty Goldstein)
Athens GA, 04.17.14 | selenographie

Today I turned 30 and made a Responsible Adult Decision (FTFY).

STET is a Latin word (meaning “let it stand”). It is used by proofreaders and editors to instruct the typesetter or writer to disregard a change the editor or proofreader had previously marked.” (via Wiki)


my family violence textbook says that restorative justice is not popularly used in family violence cases (including, of course, intimate partner violence) because of the following potential problems: “(1) victim safety, (2) manipulating by offenders, (3) pressure on victims, (4) community norms supportive of victim blaming, (5) mixed loyalties between participants, particularly family members and friends, (6) potential for minimal impact on offenders, and (7) offenders may not get the message that violence is wrong” (daly and stubbs 2006:17 in paine and gainey 2009). 

literally someone should make punx read this textbook before they write zines about accountability processes 

sorry but aren’t punx too busy being all "why is no one talking about this?!" to like consult a ~mainstream~ textbook for actual information

for Aria re: baby names

I’m not an legal expert by any means and there may be different laws in other states, but at least as far as Georgia is concerned I have these two anecdotes:

When my daughter was born I named her (sort of on principle; I knew that her adoptive parents were giving her a different name [which I was equally happy with]) and I was concerned because I was going to give her four names (first, middle, her father’s surname, then my surname) and I didn’t know if that would be allowed. While I was filling out the paperwork an attending nurse told me, “you could name a baby yabba-dabba-doo if you wanted to, it don’t matter!”

Also, interestingly, if the mother and father are unmarried, the father of the child is legally referred to “the biological father who is not the legal father.” If the mother of the child is married to a man who was not the biological father of the child, that man is “the legal father” regardless of his actual involvement with the mother or child. Hmm. I don’t feel well-versed in anything enough to have an opinion about this kinda loophole other than problematic.

I gave the manuscript to Marie for editing and immediately had a wave of doubt, partly about the quality of my writing and partly about the worthiness of telling the story — it’s normal for me to oscillate between “this is terrible!” and “I am a genius!” so it’s gotten a bit easier over a lifetime of ~Being a Writer~ to slowly talk myself out of the pits of despair (as well as to recognize that the elated highs are just as fleeting!). Anyway, I had some doubts about personal writing style because the story is not as poetic and flowery as I’ve sometimes written things in the past. This is probably for the best because I in no way want to romanticize any aspect of what I am writing about; I remember that before I’d even begun to actually write, a piece of advice I gave myself was to avoid sentimentality.

But it’s very different than the kind of writing I’ve done that I’ve felt proud of (even years later when I’m embarrassed by the subject matter, I still think I was doing all right at honing the craft or whatever). I think I neglected to use descriptive metaphors, I refrained somewhat purposefully from describing what someone or someplace looked like and I sort of felt like I’d done a lousy job at crafting scenes the reader could visualize — but then, do I want the reader to actually visualize my recollections of trauma? I don’t know. I focused a lot on how I felt, and what I thought, trying to use active voice to write what I did, and how I reacted to what he did.

It turned out sounding, to me at least, very distant, almost even clinical. I struggled to write “the facts” even when I was writing about how I felt unsure about “the facts” and writing about how I have vacancies in my memory, a sense of collapsed time; plus it got a little meta as I wrote a little about the act of writing bringing back memories (having to research through old journals and remembering about things I had forgotten even though I’d taken the time to write it down years ago) — writing about how I remembered what I’d forgotten I’d remembered?

I’m thinkin’ about an article I read recently but cannot find the link right now, about how it’s typical, normal even, and psychologically understandable that many victims of abuse tell their stories distantly, deadpan monotonous and with a startling lack of emotion — which this article had said that such a method of telling the trauma has had the unfortunate effect of causing (???) the listener to disbelieve, and how professionals (like law enforcement, social workers, etc.) need to be re-trained in interviewing and listening strategies in order to learn that sometimes lack of emotion is an expression of honesty, sometimes distance is a sign of shock…

I think I needed to have that distance for other reasons as well, because partly I guess what I want is to be able to treat this as a piece of writing; yes, it’s a personal story, it’s a trauma narrative, it’s about real things that happened and it is told as truthfully as I could — but I don’t want its being a trauma narrative to be the only thing giving it “merit” as a “work” of “writing.”

Yet I’m still worried I sound unbelievable, unreliable as I’ve written so mechanically about awful things, almost casually sometimes, repeating the same handful of adjectives: "incessant, terrible, absurd"

I don’t know. I think I want this thing to be both a piece of art and a piece of evidence and I’m not sure how I really feel about that.

I’m thinkin’ about what HST wrote recently re: “trauma narratives written in the past tense.” I tried to write everything in the past tense on purpose, as a sort of exercise to convince myself it happened in the past even as I was flooded with recollection and often had to take breaks from being overwhelmed — thinking about what happened then, feeling like I felt thinking now about what happened then, and so on in a negative feedback loop.

The writing was clunky and awkward, and I’m not great at grammar so I just finally looked up what I’d done: it’s written in a mix of simple past, past progressive, past perfect simple, past perfect progressive — but a lot of it is not written in any past tense at all even though I thought that’s what I was doing. Instead, it’s conditional (e.g. “we would fight, he would have gotten drunk, I would be anxious”), tenses which are used to describe actions that might take place or might have taken place in the past.

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I’m really hungry right now but I don’t want to eat this banana on the bus :/