Tag: Clown

Mellow and Dramatic (Jan 26 2026)

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In which Our Hero mellows in the drama 

Today was the first day of the second term. I’m not there. I’m in Etampes, four minutes walk from the school. I walked earlier today by the train station cafe that doubles as the student haunt. Yet I’m not there. Do I miss it? 

Today my mother and I dawdled down a classic Parisian street. Over lunch we swapped plates four times so we could experience what the other was eating. An Eastern European tourist offered us alcohol at Jim Morrison‘s tombstone. A California native gushed his worries about American politics 10 feet away from Molière corpse. 

This evening, my housing purchase was confirmed. After 8 years nomadic (homeless?), it’s time to put down roots. My partner ordered a bed for the empty apartment. I ordered locks for the doors. We’re buying one way flights like we always do, only this time they’re to home. 

The clown course I’m missing is melodrama. A fellow student once told me that melodrama is about stretching moments. What should be a five second stroll becomes ten minutes of dramatic, hyper-experienced anguish. 

Today stretched. From sprinting for the train to dashing through loan documentation, I was hyper present. Focused. Immersed. 

That’s one of the goals (or is it *the main goal* of clown school). Presence. Giving. Moving forward. 

I don’t miss melodrama. 

I’m excited for my life. 

Ease is what you make it (Jan 24 2026)

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In which intense and easy coexist 

At the start of today, I expected an easy day. Farmers market in the morning, then relaxing in this little medieval town, perhaps with a stroll around the lake.

But when I’m with my family, things happen!

My mother – who was up until 4am last night – walked for ten miles around Paris today. “Because today is so nice and tomorrow will be cold and rainy”. 

We sped through the annual scallop festival; sauntered winding streets in the outdoor flea market, strutted down the jardin des tuileries, and basked under the calmest place I’ve found in France (a particular library room near the Louvre).

We ate four of my favorite French foods: tomme de brebis, galette, a particular raclette wrap, and carbonara at the best Italian restaurant in Paris. (You may think carbonara is Italian. But if in France, doesn’t that make it French?)

Le jeu changed over time. From find caffeine to find food to find the most outrageous item being sold to people-watch to make the train. 

(We made the train home, despite it leaving in 20 minutes and Google telling us the walk would take 22 minutes.) 

If this were my everyday, I’d be exhausted.

Exhausted,

but happy.

😌

Squeaking By (Jan 18 2026)

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In which Our Hero enjoys a capital day. 

Dipping churros into chocolate, I could feel the blood throbbing in my left knee.

After walking 26,986 steps (13.34 miles) on a mostly-still-broken foot, inside a surgical boot that was actively coming apart, it was time for new shoes.

Most people don’t put hundreds of miles on their surgical boots.

Most people don’t buy a second surgical boot so both feet will be even.

Most people don’t sprint through Dallas/Fort Worth Airport in surgical boots when the announcement says they have three minutes to board, even though their ticket insists they really have eighteen.

I am not most people.

We landed in Madrid at 5:45 a.m.
By 6:45 a.m., we were failing to locate our Uber and choosing the subway instead. 

Our exit train from Madrid left at 4:45 p.m.

Ten hours in Spain’s capital.

After eight of them, my feet were finished. The boot—kept out of an abundance of caution—was now increasing my risk. Three weeks ago, I’d been cleared to wear normal shoes. I hadn’t. I’d stuck with the boot.

Safety, it turns out, has an expiration date.

I spotted a discount shoe store.

Since I return to France on Friday, I only needed shoes that would last five days.

The clerk showed me a pair of decent-looking sneakers: twenty euros. I tried them on. He only had the left shoe in size 44 and the right shoe in 45. The clerk agrees to a discount, and apologizes he cannot give us a greater one. After all, what shoe store only sells mismatched shoes? 

Little does he know, my right foot is the broken one. Mismatched shoes is actually a plus! 

I ate a second ham croissant. It rivaled the ones I’ve had in France. (It wasn’t a croissant in the way they make them there. But it was delicious.)

We strolled through Madrid’s central plaza.
We passed photos of gored bullfighters and Jimmy Carter. 

I learned I could buy an apartment of the same cost and size as my future one in this square. I concluded I’d rather have mine.

Why do people prefer the artsy second city?

Melbourne over Sydney.

Barcelona over Madrid.

In both, I have a strong preference. In both, it’s the business hub.

I prefer places where real people are real. Where life isn’t a reflection or performance of itself. And in Madrid, the live music is more prevalent than in Barcelona.

Ten hours.
Too-big, mismatched shoes. 

Clown. 

[Get the title? Squeaking? Like clown shoes? How they squeak? 

Tough crowd.] 

Clown School Break Day 42: Making Spades for Poker Pros(pectors)

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In which Our Hero stumbles upon something interesting… 

My partner wants to improve at poker. She 1) has the sort of mind that could be very good at the game, and 2) wants to improve her comfort in situations where she makes the right decision but the outcome turns out bad. [She also 3) wants to improve her comfort in situations where she made the wrong decision and the outcome comes out bad.] 

We watched some theory videos together today. It was very fun. I enjoyed it. I’m excited for more! 

–

My partner asks whether there exist little poker drills, à la “hit the ball at this bucket” in tennis, so you can have fun while learning the skill. I said I didn’t know any. 

We therefore invented a way to teach a particular, very-important poker skill in a manner that’s actually fun. Perhaps we will expand this, refine it, and share it with others! 

… and I built an app for it! More info to come… 🙂 

Clown School Break Day 39: Likeability

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In which Our Hero, like, likes likability?

I was speaking earlier today with a friend who is a very polarizing figure. I am also a polarizing figure, but much less than him. He is often right, but also often disliked. The sort of person who is correct about the mismanaging of funds in an organization, but when he raises this to general public awareness, ends up somehow getting kicked out of the organization. 

This friend also has described me as “a bit of a people-pleaser”. (Which is amusing because most people would not describe me that way.) 

Clowning is about being liked. Clowns are lowest common denominator performers. They find pleasure and share pleasure in a mass-market, pre-language, pre-thought way. 

Clowns are excellent at a specific veneer. Not a substance, but a manner. Pleasure, joy: these are good things. But they’re not everything. Clowns (and actors in general) are emotional salespeople. Models are to fashion as clowns are to pleasure as actors are to emotions. 

I respect clowns and actors (and I also respect salespeople). But being a clown or an actor is completely unrelated (and sometimes antithetical) to many other virtues. For example, clowns are anti-intellectual. Clever jokes – at least at this school – are undesired. 

Perhaps pleasure is just the first step. Acting/performing might begin with finding your pleasure and sharing your pleasure with the audience, but it’s not the end. The end includes having a message or somesuch. 

I think this particular school is teaching a valuable skill. I also think that the implementation of it in its purest form – through clowning or through acting – doesn’t appeal to me. I’d rather have valuable things to share, not just share them well.

Clown School Break Day 36: Empty Spaces

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In which emptiness permeates Our Hero. 

Today I drove in silence. My partner in the passenger seat, surrounded by calm empty space. 

Usually I drive with music or a podcast. This drive was 3.5 hours. 

For the first two hours, just being. 

Once in a while adding a comment. Saying something. Mostly quiet. 

It was nice. 

— 

It reminded me of some time spent on stage. The increased comfort that comes from increased experience. The greater ease that comes from an acceptance of emptiness. 

I’m reminded of the idea variously attributed to Miles Davis and other musical greats: playing the spaces between the notes. 

It’s pleasant to play the spaces between the notes. 

It’s even more enjoyable to let the spaces between the notes play. 

And then

To level up

To the notes themselves playing 

And you simply helping

😌 

Clown School Day 32: A Virtuous Pleasure Cycle

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In which our hero celebrates yet more acclaim (with utmost humility)

Hearing of my post yesterday, the reader who recommended the game emailed to share their joy: “It gave me pleasure to recommend the game. It gave you guys pleasure to play. It gave me pleasure you liked it … a circle of joy. So happy!”

As I read this message, I smiled. For it felt like the most virtuous cycle of pleasure since the invention of what the French call “le soixante-neuf”.

Perhaps what’s most interesting: I now understand why people engage with fans.

Plus: Not only do I have dozens of daily readers (and some more non-subscribed daily readers); I’m also an accessible human person.

You – yes, you – can communicate with me, and I will respond + engage. An act of engagement mirroring that of the audience x clown. 

Humanizing. Connective. Satisfying. 

“Okay,” I then thought, “What would it be like to explore and isolate this wheel of success? Is it the same in all media  (including clown; public intellectual; and writer)?” 

Looking at it, I saw the following wheel: 1) Make a thing; 2) make it public; 3) engage with those who like it. 

I then began thinking: “Wouldn’t it be cool if I brought even more people joy?” and then, a bit of fear: “What if I got big enough to have people who dislike my work?” 

Doubtless, in any city of sufficient size you will have bad actors. Similarly, in any media reach of sufficient size, there are bound to be haters and/or trolls.

As such, the question is not if, but when. And being a sometimes-catastrophizing sort (even when I’m imagining a future world where people enjoy my artistic work enough to be popular), what would they say? Here’s what I imagine, and my thoughts on them:
1. “I hate you” / “you suck”. (People like to say things like this; they’re non-substantive; next.)
2. “You dive into particular and uninteresting rabbitholes” (I follow what interests me. It’s not going to interest everyone. I hope to be accessible to those who will find me valuable.)
3. “You have X blindspot” / “How can you not know Y” / “What the fuck is wrong with you for Z”. (This is my favorite – unnecessarily aggressive, but at least there’s substance. I’ve spent my life separating the person from the idea, parsing for the gold nugget of truth while ignoring the surrounding turd, so these are responses that I genuinely look forward to).

Yet, upon reflection, many of these notes I’ve already heard at clown school. From our Head Teacher in response to one of my performances, I once heard – direct quote – “We don’t like you”, alongside feedback that I failed at showing my personhood/humanity. Last I checked, I have always been a person (and I suspect the Head Teacher knew this). Perhaps this intensity of aggressive attacking is part of the inoculation of clown school. Or perhaps, as a family member put it when I described the social structure of the first two weeks, “that sounds like brainwashing.”

So if clowning (art?) is about creating games and playing them with others, what games do I want to create for my writing audience? 1) in this post, look at the first letters of each paragraph to find a cute little easter egg, and 2) over the next few days, let’s both be on the lookout for where interaction goes. Perhaps it will go nowhere. Or perhaps I’ll find some fun to share. Since clowning is about so much present-ness, there’s really no way to tell. Guess you’ll have to keep reading 

!🤡

Clown School Break Day 31: To Universal Acclaim

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In which Our Hero smiles at the received positivity. 

A friend of my father’s recommended a game today. She reads my daily blog and, since she knows my love for poker and my interest in cooperative games, she linked over a cooperative poker game. Today my family played it. We had a blast. A new favorite. One for the ages. Such glee.

We sent her a video indicating our excitement. She’s glad we’re glad. We’re glad she’s glad. She’s glad that we’re glad that she’s glad. Etc.

I’m glad my daily blog is having such positive impact. With dozens of daily readers, I’m clearly having a positive impact. And the fact that I’ve received recently a bunch of unexpected positive feedback suggests I’m doing something right. I’m also glad that I have people around me who would tell me honestly if they thought something negative about it. But they don’t, so everyone must like it.

—

It’s a game about accurately ranking your poker hands compared to the other players’ hands. You win or lose as a team: either your whole ranking is accurate or it’s not. Play is simple: you rank preflop, then on the flop, turn, and river. Only the river rankings matter: if they’re correct, you all win. If they’re not, you all lose.

A few lessons:

  1. It’s hard to navigate small discrepancies. 8,7 vs 8,6 is nearly impossible to distinguish if no 7 or 6 comes on the board.
  2. Personal proclivities abound. One person’s confident grab of the top rank preflop means only pocket tens or better, while another’s may be Ace-9.
  3. Have fun. This means A) When a conflict arises, diagnose it accurately (was the problem really on the river, or did this stem from preflop?); and B) when you feel uncomfortable, say “I feel uncomfortable”. It’s shocking how well people respond when you simply say “I feel uncomfortable”.

—

I’ve been writing a daily blog about clown school. I suspect (but don’t know) that plenty of my peers read this blog. As yet, no one has said “I feel uncomfortable”. That’s nice. Guess I’ll continue 🙂 

Clown School Break Day 29: On Moving Holidays

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In which Our Hero experiments with time.

My family moves holidays.

By moving them, we get more time together. And the ability to do more Christmases with others. (This year, I’m doing one Christmas with my family and then three with my partner’s.)

The official Christmas – or “consensus Christmas,” as I call it – is arbitrarily chosen anyway. Orthodox Christmas is in January; Jesus’ actual birthday is unknown; and Dec 25 was chosen in the 4th century. So we slide things around.

Today was family Christmas Day 1. I received two clownish gifts. 

One was from my gluten-free brother-in-law: a large, baguette-shaped pillow.

[In a French accent: “honh honh honh”]

The second was a sign saying “Beware of Clowns.” It’s visually akin to a normal “Beware of Dog” sign.

Teeheehee.

Musing on this relationship with time, I wonder how much it’s shared by clowns. They’re an immediate lot, making plans for now and changing them when the wind blows. The school allows for drop-ins and drop-outs as desired. You can come for a year. Or for one course. Or leave and return next year. Or the year after. And you definitely can’t take the second year clown course until after you’ve taken the foundational Le Jeu course. Or at the same time: that’s fine too. 

This is a game with time and convention. 

Most people have never considered moving a holiday. “Christmas is on December 25th”, they might say. And they’re right. But they’re only right because people decided they’re right. And social constructs are fertile ground for games. 

It’s also an act of engineering. We found a problem: many demands on the same time. So instead of moving our bodies (see the movie “Four Christmases,” where a couple tries to do all four divorced-family Christmases in one day), we move the holiday. 

Clowning and systems engineering are shockingly similar. One is attempting to achieve a system result; the other an emotional one. But the method is the same: find what’s out of balance and adjust it until the whole thing works.

It’s nice to play with social temporal agreements. But it’s nice because the people I care about agree with it, and all play in similar ways. 

There are also times when I think something’s a game and someone else thinks it’s absolutely not a game. Those times are no fun at all. 🤡

Clown School Break Day 27: Beards and Bouffons

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In which Our Hero chuckles at a mistranslation, then engages with the point itself. 

The question was posed earlier today: “How much of your feeling of lack of social fitting at clown school comes from your grooming, or lack thereof?”

A fair question.

I last shaved my face in October. I last cut my hair in 2021.

(To be concrete: at clown school, I showered daily, wore deodorant, and washed my clothes weekly. This topic is about aesthetics, not hygiene.) 

I’ve never grown facial hair before. It was always patchy. Now, since July, returning to my endogenous testosterone production with a little bit of external boosting via a doctor-prescribed chemical called Clomid (a 10/10 experience, but a different story), I have finally been able to grow a beard. It’s nice. My partner enjoys the softness. I enjoy the newness and the exploration (and the scritches).

And then, on the hair front, it’s long. Sometimes (3 or 4 times in the last 4 years) I get it treated at a salon to make it simple and easy to manage. Others, I wear hats or put it in a ponytail.

I’ve heard I have split ends. I don’t care.

So:

Do clowns?

The first answer is: probably. Clowns are an immediacy-focused group. One that cares about emotional presence and current experience. They also therefore care about appearance and presentation. And they should: performers are perceived based on their appearance. A comedian who either gains or loses a lot of weight will need to adjust their behavior and performance based on their new perception. (For a biting and sad example, see either this article about Chris Farley or how many Chris Farley bits involve his size.) 

So yes, my grooming has probably had an impact.

I mentioned something like this to my interlocutor, to which they replied: “Not because you don’t look good, but because you look like you aren’t taking care of yourself.”

This comment seems worthy of analysis.

Like.

I am taking care of myself.

I’m just not doing things with my body that you (the collective “you”) want me to. 

“Not taking care of yourself” is often a polite mistranslation for something else. What it usually means is: you are emitting social signals I don’t enjoy. 

I’m enjoying the beard growth. I’m curious where it goes and what it’s like. I’m enjoying the new experiences, even some of the difficult or disgusting ones. (The presence of my mustache means I have to re-learn the skill of using a napkin.) I like my hair as it is: I’m enjoying it growing out. 

It’s less “not taking care of myself” and more “not playing others’ game”. 

Grooming isn’t just maintenance; it’s signaling. And one of the signals I was sending – intentionally or not – was: I’m not optimizing for your approval.

Which is

perhaps

a fair point.

I’ve opted out of a bunch of life’s societal games. The 9-5 job (or employee status more generally). Living in a fixed location. Dating via specific social rituals. Following a prescribed gender behavior.

It limits who likes me. It limits who spends time with me. But the people who do like me really like me. 

I’m thinking about this with clown school. My goals were 80% spiritual and 20% clown-y. That already separates me from the crowd. I’m not the only one in clown school for spiritual reasons: a classmate shared that her motivation was to re-learn how to play so she could enjoy playing with her children again. The majority of my classmates are professional actors. 

My clown-y goals were 1) learn the practice of clowning; 2) learn the theory of clowning; and 3) make friends. 

If my spiritual goals are not most clowns’ main focus, and most clowns aren’t interested in the theory, then I’m already pretty limited in topic interest overlap.

Add to that the fact that I don’t find fun many things that other clowns do – drinking alcohol; socializing in groups; group texting conversations – and my pool becomes even smaller.

Clowning is about finding games and playing them. It’s about being open and connective and sensitive with others. My first few weeks, when my facial hair looked good rather than just a lot, I was more in flow. Is that a coincidence with the fact that I also enjoyed the class subject matter (Le Jeu) more? Is it true that my focus turned more inward over time, and this didn’t jive with the peers? Complicité is a two way street, and maybe I was blocking the other lane. (As a friend put it: “maybe your flow comes partially from the interactions with others and maybe your appearance changes their interactions with you, which compounds”.)

The most generally-liked clown who I met at clown school was a person who’s constantly generous. Not especially generous with time, resources, or skills, but extraordinarily generous in emotional and social dynamics.

And I

just

don’t value that

as much

as the other

clowns do.

Emotional generosity is the local currency. I value it, just not always above curiosity, theory, or truth. That difference matters more here than I expected.

This isn’t a critique of emotional generosity. It’s a recognition that I underweighted how central it is to clown school, and that mismatch had consequences I’m still understanding.

So I write a daily blog about clowning.
And others
are better
clowns
🤡