Tag: Fiction

“Everything is hard in New York City” (Feb 5 2026)

JulianLeave a comment

In which Our Hero prompts anger and ridicule. 

I’ve heard this said many times. Probably 3 times in the last 2 weeks, and many times before. And I… like… don’t believe it? 

Two days ago, my partner wanted to schedule a doctor’s appointment. She called the specific practice she desired, best in the country for the thing she cares about. They booked her for Thursday (9 days out). Then, she asked if they had a cancellation list she could be on to get anything sooner. The scheduler offered her the following day (yesterday) at 10am. She attended the appointment with great success. That doesn’t sound hard to me. AND, this is a medical function that NYC residents most say can be hard to get into. 

What do I think is actually happening? Options: 

  1. There is so much to do. The City is an endless treasure trove of possibilities. In a normal city, you might want to do 3 things aside from work on a given day. In New York, you might want to do 8. 
  2. Some things *do* take much longer. Yesterday, I moved a couch from a third-floor walkup. A third-floor walkup is not something that even exists in many parts of the country! Transporting the couch to my truck took ~50 minutes. Compare that to the ~15 minutes it took me to transport a much-heavier bedframe to that same truck. But the bedframe was in an elevator building. (Driving, too, can take forever. But most of the time, you won’t drive. And the subway is very speedy. (And most Americans are used to driving forever anyway.))
    1. Waiting in line can take forever. If you want to attend a specific show, you might have to get in line for tickets 3+ hours before the ticket purchase opens. 
  3. The people feel squeezed and stressed, so the difficulty of doing things becomes much more. When you work an intense 9-5 that really works you from 8-6:30 (or in some cases 7am – 8pm), you have brief evenings and weekends for both errands and all the life you want to squeeze out of New York. 
  4. Rent *is* really fucking expensive. Therefore, you are much more likely to feel squeezed. But that doesn’t make things themselves harder. It just makes you uniquely susceptible to 1) feeling like you can’t give up that 7am-8pm job, and 2) feeling like everything in your life is intense. 

Over the last week, these are things my partner or I have done with less than 12 hours from conception to completion: 

  1. Bought 4 slices of 4.5-star New York pizza for $5.99
  2. Scheduled and picked up for ~1/3rd of retail cost:
    1. A like-new minifridge 
    2. A robot vacuum & mop
  3. Scheduled and picked up for free:
    1. Bedframe with sidetable and drawers 
    2. Coffee table
    3. Desk
    4. Peloton shoes of exactly my partner’s size 
    5. Wheeled dolly 
    6. Vacuum
    7. Plates/cups/mugs/silverware
    8. Blender
    9. Microwave
    10. 2 large-size instantpots
    11. 3 plush chairs
    12. 1 plush comfy chair 
    13. 1 large L-shaped couch
    14. 1 desk chair
    15. 1 gaming chair

That doesn’t sound like it’s difficult to do things. That sounds like some things are difficult to do. (Getting into one of the elite public schools? Fuggaddabouttit!) And when the line at grocery checkout is 50 people long (as it sometimes is), you might think it’s hard to go grocery shopping. But there are 25 open checkout stations, so that line is really equivalent to only 2 people in front of you. 

So far, New York has been kind and hospitable. Yes, there was a threatening person in front of my building who followed me inside 2 days ago. But hey, isn’t that culture? 

Jennifer and the Fridge (Feb 2 2026)

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In which community helps carry the weight. 

The last time Nikki rode in the trunk of a car, we were hitchhiking through central Germany. This time, it’s to keep the fridge upright. 

We found Jennifer through facebook marketplace. She posted a mini fridge for $55. When we arrive, she explains: “I originally posted it for $90,” she says, “and there was a bidding war.” 

She says this as though it clarifies how we got here when in reality it only muddles my understanding. 

Jennifer asks for help carrying her trunk downstairs. Nikki obliges; I carry the fridge. When we get to the bottom, Jennifer offers to drive us to the subway instead. We heartily agree. 

Forty-five minutes later we’re stuck in traffic behind school buses with Hebrew letters on the side, all doing their daily rounds despite it being Sunday. Jennifer tells us about her life and dreams: 

  • She always wanted to live in a loft apartment that doubles as an arts space. Today she moves her stuff out of someone else’s arts loft. She’s not making much art these days. 
  • She lived for a while in rural northern California, managing a “farm” and “driving hash around”. 
  • She raised her son by herself. He’s sixteen now and “I homeschooled him myself” for five years. When I ask for details, she says “More like unschooled. But hanging around me is a whole lot of learning”. 

As Jennifer drives us down [name] street in Bushwick, she points out all the Hassidic jews nearby. “That hat probably costs $3000,” she says, and “Don’t do business with people who say ‘more or less…’” 

“Good for you,” Jennifer says upon learning I’ve bought my own apartment. “Do ya mind if I ask what you do for work?” 

I pass this question to Nikki. 

“He’s a clown school dropout,” Nikki says. “And I am a bioweapons expert.” 

“Modern day hippies.” 

— 

We only end up carrying the fridge down two flights of stairs, up two flights of stairs, and down one avenue block (those are the long ones). We stop five times. Had Jennifer not driven us, the carrying itself would have taken us an hour. Instead, we received a tour of Bushwick. 

On the final stretch, Nikki pauses a few times for grip strength issues. Her strength itself is just fine: it’s a problem of her finger strength giving out. (Fun fact: grip strength is the most sexually dimorphic trait.) Two high school boys walk past us. They look for a bit too long, clearly demonstrating curiosity. After they pass, Nikki says “I’m thinking about asking someone for help carrying this to the light.” 

Six months ago, Nikki was lifting weights at a gym in Reno when she realized she couldn’t re-rack her weights (due not to a strength issue but their height). She flagged down some men in the gym, only realizing after asking that they were standing around chatting because they were firemen called in for something job-related. They ribbed each other about who was going to help her, then clearly enjoyed being useful. 

So far, we’ve lived in New York for 4 days. I look forward to the day when Nikki asks the passing teens immediately. I look forward to the day when I do too. Because we helped carry Jennifer’s trunk downstairs. That’s what New Yorkers do. 

Jennifer has always wanted to live in a loft apartment. And today she is moving out of her arts space. 

We found her through facebook marketplace. She posted a mini fridge for $55. When I messaged her, she said “First person to confirm they can pick it up at 3:30pm gets it!” I immediately texted back “Confirmed: I can do 3:30. Where is it?” 

En route, I tell her we’d love for the fridge to be at the ground floor. “You mentioned you could bring it down the stairs. I’d appreciate that.” She replied: “No. I mentioned i am strong enough to.  You will need to carry it down.” 

When we arrive, feelings are slightly tense, presumably because of the recent request-rejection. 

My partner wonders aloud whether people who feel compelled ot make art do so because they have something they need to communicate that can’t be easily communicated with language. 

I do think many of them feel unheard. 

Going Places (Jan 28 2026) 

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In which Our Hero voyages through space and time

Theo works nights at the front desk of the only hotel in this small French town. He works days at the car dealership, cleaning cars. He also works days on his talent management company. He wants to build the ROC Nation of France. He is 23 years old and wants to retire by 40. He prefers the American work ethic to the French one. I tell him to make sure to increase his hourly wage, not merely his number of hours worked. 

—

“You sleep when you can.” 

The businessman in the neighboring airplane seat says he lives his life out of suitcases, in identical rooms in identical towns. He changes time zones frequently: today Munich, tomorrow Mumbai. After years of struggle, he gave up on circadian rhythms. He sleeps when he sleeps and works when awake. One day, maybe he’ll have a partner. I wonder how old he is. 

—

Ilian is 21 years old, on an airplane for the first time. He’s snapping pictures out the window as the plane lifts off, and sets his phone to record video when he’s sleeping. “Comme un gros oiseau”, he says. Today he goes to Iceland. Next year, to Switzerland. Also on his list: Japan. I tell him Japanese pork was my surprising highlight of the cuisine. He doesn’t eat pork. “You’re Jewish?” I ask. His eyes widen in what looks to me like repulsion. “Muslim,” he corrects. He shares with me a breadstick he brought for the trip. We exchange phone numbers. When I return to Paris, we’ll go to a museum. Maybe one day I’ll tell him I was raised Jewish. 

— 

Somehow I became 32. I don’t remember 31 from 30. I can’t parse 29 from 28. I suddenly understand why my father takes a moment to isolate what year an event happened. “It was nineteen … (pause) eighty … (pause again) seven,” he’ll say, and then be proud he pinned it down. 

Six years ago I didn’t want kids. Five years ago I didn’t want a life partner. Four years ago I started taking exogenous sex hormones. Three years ago I flew to Australia to escape heartbreak. Two years ago I met my now-partner. One year ago I still lived in a van. 

Tomorrow, I buy a home. 

And the day after? 

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. 

Clown School Break Day 51: Dumb, Dumb, Duh-dumb Dumb Dumb…  

JulianLeave a comment

In which Our Hero, um, … um … um … 

I’ve been feeling dumber lately. Having trouble finding the right word. Finding myself thinking slower. What’s up with this?

Hypotheses: 

  1. Clowning makes one less intellectual
  2. The work that I’ve been doing has been effective, but not intellectually stimulating
  3. Something else

The first seems likely true. Does clowning make one less intellectual? Yes. Less intelligent? No. However, among the many types of intelligence, it does not contribute to improving one’s smartness. In fact, it teaches one to focus on pleasure and emotion to the detriment of smartness. Sacrifices must be made at the altar of pleasure! 

The second: also likely. I’ve recently been doing a lot of important and procedural, but not intellectual, work. (Among them: buying and renovating an apartment; writing articles that are squarely in my wheelhouse.)

The third: maybe it’s hormonal? The speed of my verbal fluency was stronger on œstrogen. ‘Twas notably stronger. And now, I have much more general go-go-go (whether that’s testosterone itself or simply my familiarity with the hormone, I’m not sure), but less verbal speed. I make fewer moves but each move is stronger.

Another option for the third: a life transition that requires adjustment. Selling my previous home. Buying a new one. Moving internationally. Building a relationship. All of these can wear you down. 

A final option for the third: lack of exercise. Since I broke my foot I have been a complete lazypants. The brain thrives on exercise. Perhaps it will return when the activity returns. This one seems very likely to be influential :!D

It’s an odd experience to feel myself being duller than I previously was. And the people around me aren’t noticing… or at least aren’t noticing enough to say anything.

Then again, would they notice? And if noticed, would they say? 👀

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 26: Clowning as Emotional Oddity

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In which Our Hero ends on an unusual question. 

Clowning is an odd emotional experience.
Clown school is an odd emotional context.

Where else is one assigned the task: be emotionally open, vulnerable, generous, light, and kind?
Where else is one given an explicit assignment to manipulate their own emotional state in service of others?

One place that comes to mind is politics.

I recently happened upon a (¿state?) senator. I was coming from a friend’s birthday, and the senator commented on the hat I’d given my friend. The senator exhibited genuine-seeming curiosity about what it meant, then delight in the silly inside joke it represented.

And,
like,
he wasn’t being inauthentic.

But,
like,
that is his job.

I don’t believe he was deeply interested in the game itself. I doubt he’d want to watch it or play it unless it came packaged with votes or fundraising. And yet: the delight was real.

I suppose clowns are the same way.

It isn’t inauthentic to change your emotional state and then share that state with others.
But it is contrived.

It’s not inauthentic to manipulate someone at a poker table either.
But it is manipulative.

So what’s the point?

Is this the core function of most people-leadership roles? From CEO to politician to parent to clown: are they all versions of the same act?

If behavior flows from emotion, is a leader’s primary job internal emotional manipulation, followed by broadcasting the result?

I’m reminded of LBJ amping himself up – working himself into a righteous frenzy – before speeches and political events, especially if it felt like he was behaving in ways antithetical to his values. He told himself he was doing it for people he cared about. That the moral sacrifices were worth it.

And then he sent those people to die in Vietnam.

I’ve known a CEO who practiced a similar kind of self-amping. His former employees now, at a remarkable rate, despise him.

So what’s my point? The connection to clowning?

Is it bad to manipulate your own emotional state? Obviously not. But when does it become bad? Under what conditions? In service of what ends?

What’s my point?

I don’t know. I’m musing.

That’s what this blog is. Thinking out loud. Marking where my thinking currently sits and letting it evolve. I don’t endorse everything I’ve ever written. That’s part of being a writer.

But today I’m reminded of how strange an emotional experience clowning is.
And how much people hate politicians.
And I find myself wondering whether – or more precisely, to what degree and in what ways – they should also hate clowns.

🤡

Clown School Break Day 24: Clowning is for Babies

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In which Our Hero shares a lack of pain.

My sister’s sixteen-month-old child has not yet learned that life is more pleasant when one defecates intentionally in prescribed locations. Instead, he saves time and effort (and I admire his efficiency) by pooping wherever and whenever inspiration strikes.

After completing this task, he begins to smell.
It is not a pleasant smell.
It gives one the impression that all disgust responses originate here.

To rectify (pun!) the situation, one generally places him on his back and swaps out his undergarments for fresh ones, with some cleansing wiping in the middle (pun!).

He does not enjoy being on his back.

Would you enjoy being held on your back by beings eight-plus times your size?

In response to this dissatisfaction, I’ve learned to change his undergarments while he’s standing. This satisfies the basic needs. But sometimes the environment is not conducive.

Such was the case this afternoon at the park.

We – my father and I – flopped the nugget onto his back.

His face screwed itself into a pre-wail.

I noticed something in myself: calm. Comfortable ease. I found it, then sent it his way. His pre-wail ceased. He looked at my face.

I knelt above the boy-child’s head, my face upside-down over his. He gazed at my scruffy visage; I gazed down at his soft, pudgy one. It didn’t take effort. Just a gentle internal returning-to-the-calm.

He did not find this enchanting. (For roughly four seconds during the change, he looked away.) But it was sufficient.

I am not, perhaps, more entertaining than a stubbed toe is painful.
But I can be more engaging than a sudden flop onto one’s back.

—

At clown school, the second-years play a warm-up game with a baby.

They appear on stage one by one. They make a face or a sound or some small action. The teacher plays either a baby crying or a baby laughing. They continue. The question is simple:

How long can you keep the baby laughing?

I’ve wondered for a while whether that’s the goal of clowning: reach some pre-culture, fundamental-to-all-humans level where your pleasure arrives into any audience, underneath their higher-level reasoning. 

I do not yet have the skills to make this baby laugh on command. (Except via the super-secret hack of foot tickles.)

But I do have the ability to Turn On The Calm.

And that

can be

enough.

Clown School Break Day 21: The Egg Game

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In which Our Hero encounters an eggregious machine.

Walking through the casino today, I saw a brilliant game.
A perfectly engineered one.
A real bad egg.

It’s a slot machine called something like The Egg.

You put in your money. You slap the button.
Standard procedure.
Nothing shell-shocking.

But instead of reels to spin, there’s just an egg on the screen.

Every time you slap, the egg cracks a little more.

And when the egg is fully broken –
crack –
you win a jackpot.

The jackpots (at the $1 play level) range from about $3 to just over $10,000.
All of them are progressive.
They grow the longer you play. 

The egg takes a variable number of slaps to break.

It’s a well-made game.
Eggsactly balanced.

Here’s why.

1. It redefines winning.
You will win.
The only question is when.
Just keep putting money in until the egg hatches.

Winning doesn’t feel like if.
Winning feels like eventually.

2. You feel progress.
Every slap cracks the egg a little more.
You’re getting closer.
A chip here, a fracture there.

Are you actually closer?
Who knows.
But it looks like you are, and that’s all your nervous system needs.

3. Everything is a jackpot.
I watched a man spend $70 chasing one $10 jackpot and two $3 jackpots.

He won three times.
He lost $54.

But emotionally, during the process?
Sunny side up.

After he left?
Fried. 

4. It’s intelligible.
Most modern slot machines are incomprehensible.
You don’t even know what the rules for winning are until you’ve played for a while.

That confusion creates a false sense of mastery:
“I’m learning the game.”

You are—but learning doesn’t help.

The Egg is different.
Egg → crack → jackpot.
No shell game.
No mystery meat.

Immediate understanding.
Immediate hook.
Egg-ceptionally approachable.

A game egg-zactly positioned to attract newbies. 

5. It creates tension – and guarantees release.
The egg will break.
That’s the promise.

When that suspense releases, however,
the yolk (“joke”) will already have been on you. 

6. Your action feels causal.
Slap the button.
The egg jiggles.
A crack instantly appears.

Your body doesn’t care about RNGs or payout tables.
Your body says: I did that.

7. You can mash.
On a normal slot machine there’s a pause between spins.
The Egg?
You can mash the button 30 times in 30 seconds.
(I saw a guy mash 70 times in under 3 minutes.) 

So if you spend $40 and win $20, you feel frustrated.
And to relieve that frustration:
Have you considered mashing the button?

The feedback loop is tight.
The illusion of control is strong.
The design is…
let’s be honest…
eggstraordinary.

That’s it.

I’ve cracked it.

And now I’m walking away, before I get completely scrambled. 🥚

(Author’s note: I did not actually play the game. I am not a fan of slot machines. I did, however, admire it from afar. Here’s a video of someone playing it.) 

Clown School Break Day 20: The Dealer Doesn’t Care

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In which Our Hero recalls, yet again, that feelings are weather, not climate.

Poker.

I don’t like poker.
It fucking sucks.

The intensity, the swings, the way it presses you between two stones: your own decisions and the randomness of the universe. As one poker TV show once put it, “It’s a hard way to make an easy living.”

There was a time I stopped playing altogether because I believed poker was net-negative for the world. You take money from people who can’t afford it. Addicts. The lonely. The poor.

And what do you give in return?

Entertainment?
A distraction?
A slow-motion morality play about risk and consequence?

These were my thoughts after losing two big pots tonight.
One I played fine. Just ran into the top of someone’s range.
The other I played poorly preflop in a $50 splash pot and donated my stack like a confused philanthropist. (“Splash pot” = the casino added $50 to it for free.)

Woof.

So I asked myself, as one does after being spiritually hit by a train:

Why do I do this?
Why are we attracted to what we’re attracted to?
Is it genetics? Happenstance? Praise when we were eight and wanted to feel special?

Clown school has taught me one brutal, luminous thing:
You will be pummeled on your chosen path.
Mocked, rejected, flattened, ignored.
And that’s just by the teachers! 

Your path should therefore be the thing you continue doing despite the punishment.
What’s the thing you’ll walk through hell for?

I’m deeply dissatisfied with poker tonight. But here’s the truth:
Poker is a game of millions of hands.
Variance is a dragon that only bows after thousands upon thousands of repetitions.
This hand doesn’t matter.
This session doesn’t matter.

Clowning, on the other hand, is both slower and faster.
Yes, the craft takes years, maybe a lifetime – but the feedback is instantaneous.
You step out, you try something, and either the audience lights up now, or it doesn’t.

Steve Martin once asked himself:
“What happens if I never release the tension?”
Instead of setup → punchline → laugh from tension relief, he just stacked more and more absurdity.
If someone left the show emotionless and burst out laughing in the car ride home, he considered that a victory.
(His memoir is worth a read.) 

Here’s the thing about Cards.
And the thing about Clowning.

The C’s don’t care about your feelings.
The dealer doesn’t pause because you’re tilted.
The audience doesn’t laugh because you’re sad.

The next hand came.
My body was buzzing with frustration.
But I played fine.
And that was what mattered.

Ugh.

—

It’s now an hour later.
The frustration is gone.

How astonishing, how liberating, how funny it is to remember how fleeting feelings are.

And how little they matter to the game.
Any game.
When the next hand is already being dealt.

Unless you let them play instead of you.
And they are both bad cardplayers and bad clowns. 

—

We’re now an hour after that.
I quit the live game because it wasn’t profitable enough.
I wasn’t having fun.
I asked myself the question “If I lost my stack in the next hand, would I rebuy and keep plying?”
The answer was no. 

So now I’m at the deli, eating dinner with my father…
While we play online poker with a different group. 

🤡