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When my twin daughters were infants, I would buckle them into their stroller and take long, meandering walks. As summer turned to fall and then winter, we visited bustling coffee shops, leafy avenues, and frozen waterfalls. When you are about to have a child (or children in my case), people who are trying to be helpful will say that it is going to change your life. That statement was always frustrating because of its perfect combination of obviousness and obliqueness. Of course, life was going to change dramatically, but how? I knew there was going to be more love, more fear of the future, and less sleep, but I hadn’t expected how much being a parent would bring up starker realizations and acknowledgment of how I myself was parented. As I walked, I thought about how I didn’t want my girls to feel abandoned or unwanted, how I wanted to actively nourish their humanness. On these walks, I was creating our own local patch, the physical and emotional space of their childhoods, imbued with old memories and newly-created ones. In both parenting and walking, I was practicing not knowing as a way of knowing, as a journey toward knowing.

These walks and many others happened in my often-frigid hometown in upstate New York. I have possibly-skewed ideas about what constitutes “appropriate walking weather” and am not deterred by icy sidewalks that need to be gingerly navigated bitterly cold wind, or the presence of damp rain-snow that seeps deep into your bones. I am like one of those large dogs who need to be heartily exercised or it will start gnawing the walls. Walking is the way I get most of my physical exercise, but perhaps more importantly, it is the way I work through things. While walking, I can access some of my deepest thinking and feeling; somehow the movement of my legs helps open the portal to understanding. As Rebecca Solnit describes in her brilliant history of walking, Wanderlust, “walking itself is the intentional act closest to the willed rhythms of the body, to breathing and the beating of the heart. It strikes a delicate balance between working and idling, being and doing. It is bodily labor that produces nothing but thoughts, experiences, arrivals.” More… “Walking Myself Home”

Jennifer Tennant is an associate professor of Economics at Ithaca College. A health economist by training, her research focuses on disability and mental health policy. She has written a number of articles on health economics and disability policy and has recently started writing creative nonfiction. Her first piece of creative nonfiction, a personal essay, will be published in Pleiades in January 2019. An image text essay, created with the photographer Nura Qureshi, was published in July 2018 in A VELVET GIANT.

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Literature cannot be the business of a women’s life & it ought not to be. The more she is engaged in her proper duties, the less leisure she will have for it, even as an accomplishment & a recreation. To those duties you have not yet been called, and when you are, you will be less eager for celebrity.

So pontificated the English poet laureate, Robert Southey, in a now infamous letter to one Charlotte Brontë in 1837. And while commentary on this letter has focused, understandably, on the senior male poet’s urging of private domesticity on the emerging female artist, here’s the phrase that captures my attention: “eager for celebrity.” Southey was intently calling upon a relatively recent usage of the word “celebrity;” though the OED tells us that “celebrity” was in use since the 14th century, originally to suggest public esteem or the pomp of sanctified rites, from the mid to late 18th century, connotations of the term “celebrity” bifurcated, and celebrity came to be distinguished from the less evanescent and more socially respectable “fame.” So in using the term, he was quite mindfully connecting a desire for down-market fame with misdirected femininity. There is a long history of what I call the “unseemly woman:” women who disregard Southey’s warning and who are widely understood, whether rightly or not, to be desirous of fame in a way that is considered overly “eager.” Today, those women suffer public denunciation in terms that are just as gendered as they were in 1837: think, for instance, of one of our more repellent current phrases: “fame whores.”

Backing up to the 19th century to consider Brontë’s imputed celebrity whoring might seem anachronistic or inappropos. Dare we conjoin the name of the author of Jane Eyre with that of Miley Cyrus? It’s important that we do. To assist us, we can call upon the burgeoning academic field of celebrity studies that is devoted to analyzing the condition of public visibility. But in spite of the existence of several perceptive studies of celebrity in earlier historical periods, such as Tom Mole’s Byron’s Romantic Celebrity and Julia H. Fawcett’s Spectacular Disappearances: Celebrity and Privacy, 1696-1801, a quick glance at the large, stimulating international conference that the journal Celebrity Studies sponsors every two years show us a discipline that is still, to a great degree, stuck in the present. But our thinking about celebrity must be anchored in a thoroughly historicized frame of reference, and so it follows that any thinking about today’s “unseemly” fame-hungry women needs to ground itself in a rich history of that denunciation. I need to go back much further than Brontë, in fact, to the 17th century, to the scientist and writer Margaret Cavendish (1623-73), jeeringly referred to as “Mad Madge,” who wrote frankly and unapologetically of her desire for fame in her memoir, A True Relation of My Birth, Breeding, and Life. I need to return to her near contemporary, Aphra Behn (1640-1689), playwright, novelist and spy, thought scandalous for her sexual frankness, who wrote, “I value fame as much as if I had been born a Hero; and if you rob me of that, I can retire from the ungrateful world, and scorn its fickle Favours.” In the annals of unseemly, fame-eager women, Behn’s proclamation qualifies as a 17th-century mic drop. More… “Unseemly”

Lorraine York is Senator McMaster Chair of Canadian literature and culture at McMaster University. She is writing a book on reluctant celebrity.

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I think about shame a lot. I wonder when and why I began to care so much about stuff — my body, my face, my intellectual ability. Did it start when I was bullied on the bus in kindergarten? Was it some sort of pseudo-consciousness mind trick passed down from my parents? Was it because I picked up a Seventeen magazine when I was 11? For whatever reason, I remember a lot of low and high-key shame moments from my younger years. I didn’t want to wear shorts as a preteen, because I was starting to sprout leg hair and was too embarrassed I hadn’t started to shave. Clothes shopping in high school was never fun because I couldn’t find anything to adequately fit my body. I’d enter a dressing room with a pile and leave with nothing, because (what I imagined to be) my grotesque body wouldn’t cooperate. And while I was feeling so dejected and ashamed, I rarely vocalized. For years, I assumed everybody else had figured the body out. More… “For Shame”

Melinda Lewis has a PhD in American Culture Studies. She knows more celebrity gossip than basic math and watches too much television.

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In some cases, the sufferer’s cheeks, ears, or neck grow red. Other people’s entire faces burn, or the heat washes over their head like a wave. A person who blushes feels stripped bare, even when fully clothed. A blush can be triggered by shame, guilt, joy, excitement, or irritation, and can strike when we are alone or in the company of others. But it is never under our control. It can happen when we are praised, criticized, or caught off guard. A blush can be a sign of attraction or of “hot” thoughts. Or a person may blush because she realizes she is unprepared for an important discussion or presentation – or at least feels that way. Sometimes it’s enough to drive you crazy, but blushing also has a positive side.

Blushing is just one possible reaction to feelings of shame, which in turn arise under very different circumstances in different people. Some people never blush in embarrassing situations: instead, they may grin, laugh, or involuntarily alter the timbre of their voices. “Social” blushing is also distinct from hot flashes, stage fright, skin diseases, or the reddening of the skin as a result of physical effort, happiness, or alcohol consumption.
More… “Better Red”

Bernd Brunner writes books and essays. His most recent book is Birdmania: A Particular Passion for Birds. His writing has appeared in Lapham’s Quarterly, The Paris Review Daily, AEON, TLS, Wall Street Journal Speakeasy, Cabinet, Huffington Post, and Best American Travel Writing. Follow him on twitter at @BrunnerBernd.

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You might have heard the story about the three Swiss. They were sitting around at an Inn together. They were: Arnold Böcklin (the painter), his son Carlo, and the writer Gottfried Keller. Nobody said anything for a long time. Then, Carlo said, “It’s hot.” More time passed. Finally, the elder Böcklin replied, “and there’s no wind.” Silence. Then, Gottfried Keller got up and left. As he was leaving, he said, “I won’t drink with these chatterboxes.”

Morgan Meis has a PhD in Philosophy and is a founding member of Flux Factory, an arts collective in New York. He has written for n+1, The Believer, Harper’s Magazine, and The Virginia Quarterly Review. He won the Whiting Award in 2013. Morgan is also an editor at 3 Quarks Daily, and a winner of a Creative Capital | Warhol Foundation Arts Writers grant. A book of Morgan’s selected essays… More…

 

Martin Kippenberger was a wreck. When he finally died at 44, he’d so beaten himself up with drink and bad living that the grave must have been a relief. The show currently on view at MoMA, “Martin Kippenberger: The Problem Perspective,” is something like a catalogue of everything Kippenberger had been doing in the years before he finally expired. There are doodles on scraps of paper and delicate water color scenes, announcement cards and his collections of music. There are sculptures created through the arrangement of assorted pieces of used and modified furniture and full-scale oil works on canvas. Everything is represented, from the offhand gesture to the fully intentional work. Kippenberger, it seems, could not stop making art. Yet, he rarely seems to have been pleased by that state of affairs. The theme of shame appears throughout…. More…

In old novels and plays, the woman who blushes is invariably described as lovely and virtuous. Jane Austen, for instance, created charming characters whose blushing was a sign of modesty and sincerity. Paintings from the 18th and 19th centuries often display pink-cheeked women looking sweet. Think of the many beautiful and blushing young women Auguste Renoir painted over the years.

But today, instead of being viewed as attractive, blushing is seen as an expression of shame and embarrassment. Contemporary accounts of the blush portray it almost entirely in negative terms. The blusher’s red face seems to unmask a person who just isn’t right with the world, quite literally an uncool character, one who has somehow crossed the boundary between the outside social world and the private inner life.

People who blush a lot are sometimes called “pathological” blushers. They blush at unexpected moments over nothing in particular. The psychological-physiological tic… More…