what it is to have (not)

A kaleidoscope of musings by Aimee Herman inspired by various texts, conversations, and observations. 

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As I write this, I stare at less than $200 in my checking account. I do not announce this as some sort of Kickstarter-ploy-for-pity, rather as a reminder to myself of what it is to have or have not.  

Growing up in suburban New Jersey, there were never empty shelves. Before each school year began, my mom would take my sister and I to Kmart or its equivalent and get us folders and notebooks. If shoes started breaking, we’d get a new pair. Holes in the knees of jeans? We’d head to the local mall for their replacement. We had.

As I got older, I fell in love with other people’s things. I spent my weekends, going to garage sales. My dad and I would hoard our treasures, hiding them from my mom who disapproved of the dusty discards. My body would be wrapped inside various shades of polyester, purchased from the local flea market, sometimes for less than $1. I loved wearing other people’s stories against my skin.

I never thought much about money. As a kid, we always had it.

Once I was old enough, I worked, so I had loose change to purchase non-necessities like cassette tapes, books and (later on) drugs. When I started working, I began saving for larger objects like a CD/record player, TV and then upon moving out after high school, rent.

There were years I fed my nose before I fed my mouth. But I always had. Even as a drug addict, I paid my bills on time. Rent. Credit card. Utilities. All of it. Sometimes there were even some months where I actually had some money left after paying these bills.

My eyes don’t get excited over expensive objects because as an adult, I always knew I could never afford them. I own no jewelry, nor do I care about the designer’s brands. My labels are usually faded by the time I purchase them, so I barely even know what size I am these days

As I write this, with less than $200 in my checking account, I recognize how far $1 can go these days. (Should I build some suspense? Close your eyes. Hold your breath.) Not. Far.

$1 cannot afford my trip on the subway to work. In the 1940’s, a dollar could buy four movie tickets. Now, it doesn’t even cover the cost of a bottle of water from concession.

This is not to say that with less than $200 in my checking account, I do not have.

With less than $200 in my checking account, I wake in a bed every morning in a bedroom I call mine with heat that comes on fairly regularly at no extra cost. This bedroom is inside an apartment that also houses two other wonderful humans who fill it with art, music and laughter. This apartment includes a kitchen with a cupboard full of ingredients. Each morning, I toast rye bread in borrowed toaster and slide peanut butter against its yeast with less than $200 in my checking account. I have the ability to boil water (also free) and drink coffee from beloved French press every morning. In this apartment, there is furniture to sit on. In this apartment, though there are occasional cockroaches (the uninvited pests of living in the city); luckily, there has been no infiltration of mice. With less than $200 in my checking account, I can take a bath any time I want and the water never forgets to flow.

Ten years ago, I was eating nineteen-cent packages of freeze-dried ramen with enough salt in their flavoring packet to cover my allotted sodium intake for close to a week. This was all I could afford. Now, I purchase ramen (price more than doubled) not because I have to but because I want to.

What does it really mean to have? Is it always attached to money, or is there something else to it?

As I write this, I think about the weight of love and how when I have it, I feel like it replaces every haunting presidential face attached to currency that could ever climb into my wallet. I feel like the most affluent human just for having my metaphorical heart wrapped up in a metaphorical heated 1,000-thread count blanket.

I think about the weight of words and how when I have them, I feel like I can purchase meals with my poems. I feel like I could pay my rent with my words. I feel like I could purchase a plane ticket for around the world with a well-crafted independent clause.

With less than $200 in my checking account, I have enough books to build a well-enclosed fort to protect me from the ones I hide from

I have things. I am reminded of this with each move from new state or street. In my head, I am a well-intentioned minimalist. In real life, I am a massive collector of the discarded.

With less than $200 in my checking account, I have enough clothes to last me through two weeks without having to visit the Laundromat (or at least enough underwear). I have boots to protect me from rain or snow and sneakers to slide my feet into for the warmer/dryer months.

I go to work at a community college, teaching students about writing, reading and creative ways to think with less than $200 in my checking account.

With less than $200 in my checking account, I swipe metro card with enough money stored on it to get me to aforementioned workplace and back home with possible stops in between. I notice that as I travel with other strangers underground, this is the one place where all economic classes blur together. It does not matter if you have $20 in your wallet or no wallet at all. There is no exclusive seating on the subway. A hedge fund or 401K account will not guarantee you a seat during rush hour. Everyone is the same.

What is it to have with less than $200 in my checking account? How can one claim to be rich when by society’s standards, they are poor? Is mood measured by bank balance? Would I be happier if I could afford everything on my Amazon wishlist?

As I write this, with less than $200 in my checking account, I feel no less sad as the days of the week where my balance is far more corpulent. My disposition has nothing to do with my wallet. In fact, as I settle into this low-income identity, I recognize that what I desire the most are things unattached to price tags: words, love, peace of mind, poetry.

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OUT NOW: Aimee Herman –

meant to wake up feeling

(great weather for MEDIA, 2014)

Aimee Herman website

Introducing Our 2015 Guest Prose Editor: An Interview with Chavisa Woods

Interview by Thomas Fucaloro

Chavisa Woods is great weather's guest prose editor for 2015. Submissions for our next anthology are open October 15th 2014 to January 15th 2015—so send her your best short stories, flash fiction, dramatic monologues, and creative non-fiction.

Chavisa is the author of two books of fiction: The Albino Album: A Novel (Seven Stories Press, 2013) and Love Does Not Make Me Gentle or Kind (Fly by Night Press, 2009). The second edition of this book was released by Autonomedia Press under the Unbearables imprint in 2013. She was the recipient of the 2013 Cobalt Prize for fiction, a finalist (second nomination) for the 2013 Lambda Literary Award for fiction, and the recipient of the 2009 Jerome Foundation award for emerging authors. As a featured author, she has appeared a at such notable venues as The Whitney Museum of American Art, City Lights Bookstore, Town Hall Seattle, The Brecht Forum, The Cervantes Institute, and St. Mark’s Poetry Project. Her writing has appeared in such publications as The Evergreen Review, New York Quarterly, The Brooklyn Rail, Cleaver Magazine, and Jadaliyya. Chavisa has presented lectures and conducted workshops  on short fiction and poetry at a number of academic institutions, including: New York University (NYU), Penn State, Sarah Lawrence College, Bard College, Brooklyn College, Brooklyn Tech and the New School. She is currently completing her third work of full-length fiction. Website

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TF:  Since you will be the prose editor for our next anthology, we were wondering what your take on prose is? What gets you hot? What turns you off?

CW: I have a pretty wide range of styles and voices that, as you say, "get me hot." I think most of my favorite writers share a simultaneous attention to language paired with content that demands attention. When I read a piece, it matters to me that the person has a deep or urgent need to convey something. Whether that something is political, narrative-driven, or aesthetic, light or heavy—it doesn't matter. The fact that the writer itched to deliver this message, and the message is about something larger than themselves, that's what matters. Along with that, when I'm reading it's important to me to see that no other words could have been used to  express quite the same meaning as the words the writer chose. I like to know that there was no other way the writer could have said exactly what they did. I look for meaning, or layers of meaning, to not only be conveyed through words, but be embedded in the language itself.

TF: Who are some of your favorite prose writers and why?

CW: I just typed out this list off of the top of my head, and thought about paring it down, but I think I'll leave it in its entirety, because each of these writers brings something very specific to prose as an art form that will influence writers for generations to come. These are some big names; very heavy hitters, but these are the writers who have stayed with me and whom I return to again and again when I want inspiration, or just a terrific read.

My favorite prose writers are: Richard Brautigan, Harry Crews, Marguerite Yourcenar, Toni Morrison, Flannery O’Connor, Carson McCullers, David Foster Wallace, Jorge Luis Borges, Ralph Ellison, Eileen Myles, Michel Foucault, Angela Carter, Virginia Woolf, Gertrude Stein, Gabriel Garcia Márquez, Harlan Ellison, Vladimir Nabokov, William Faulkner, and Djuna Barnes.

If you pick up a book by any of these authors, you’re going to get language that pops or flows or grows off the page, and you're going to learn something about yourself, the universe, society, or discover a new aesthetic possibility. After I read any of these writers, I feel bettered. These writers make me feel brave, and existentially so. They expand me intellectually and emotionally. Even the bleakest stories and essays make me feel hopeful, because these writers remind me that we, as humans, have the capacity to create and shape entire worlds of ideas; worlds with their own rules, as weird as we want them to be; worlds whose boundaries are imminent, infinite or not existent at all. And that is what art is. And that is how I approach creative prose; not as simply a conveyer of literal information, but as an art piece.

TF:  Can you talk about your novel that was released last year called The Albino Album?

CW: The Albino Album took me five years to write, and was quite a departure from my first book, Love Does Not Make Me Gentle or Kind, which was more poetic and language driven, and also personally closer to me. I enjoyed writing The Albino Album, because I was able to step back and be a bit lighter for long periods of time. It's a big book, 550 pages, so it moves fast. It has to at that length. It's much more character and plot driven than my earlier writing. I love hearing and seeing people I dont know talking about the book, and talking about the main character, Mya, like she's a real person who they went through something with. I've seen many reader comments and heard people say things like "I couldn't put the book down," or, "I just had to know what happened next." I didn't really set out to write a "page turner" and didn't even know I could write a book like that. But when I got into it with the characters, parts of it almost wrote itself, like the characters started doing things, and there were parts I couldn't write fast enough.

I lived in this very exciting and sometimes painful world with these characters for five years. When it was out and published, it felt a little strange for me. Now other people get to go into the world of that book. They spend a couple of weeks in it. Which was the point for the book; to be read. But in a way, I do miss it. Five years is a long time to spend with a piece. When it was over and I sat down to write, it took me a while to figure out what to do with myself because I was alone again. Starting over with a blank page.

TF: What do you think are some good practices when submitting work to be published?

CW: It's always best to have read something produced by the press you're submitting to. Also, in the writer’s statement, remember, it's the submission that’s being considered, not the statement. Don't overthink it. Editors want to know why you are excited and confident about the piece, and in what context you see your work. There is a human being just like you; another writer on the other end, reading. Just relax and explain or contextualize the piece as you would in person to another writer.

TF:  What's next for you?

CW: I'm nearly finished with a collection of short fiction that is very political in theme, and am working slowly on a more personal novella.

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Submissions for great weather for MEDIA's next anthology are open October 15 2014 to January 15 2015

I Let Go of the Stars in My Hand

"Some of the pieces in here are simply lovely. Some are thought-provoking and challenge the reader to examine an idea or a mind-set or a way of being. Some are simple and lyrical, some clever and witty." - San Francisco Book Review

"These annual anthologies and other work by great weather for MEDIA are an admirable contribution to arts and culture."- The Compulsive Reader

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Writers who let go of more than just stars...

I Let Go of the Stars in My Hand is a fearless, dynamic collection of contemporary poetry and short fiction by established and emerging writers from across the United States and beyond. The anthology also includes an interview with John Sinclair - the legendary jazz/blues poet, former manager of the MC5, radio host, and activist.

From "Th. LinkedIn e.Address" to the "Department of Homeland Insecurity", from "The Moon's Backyard" to "Solar Cemetery",  "The Builder of Holes"  to "In the Pitch Bright Darkness", follow, catch, and be dazzled.

Contributors:  Eric Alter, John Amen, Brian Anderson, Claus Ankersen, Alex Bleecker, Dorothy Duncan Burris,  Linda Camplese, John Clinton, Rob Cook, Chet Corey, Amy Leigh Cutler, John Paul Davis, Matt Dennison, Trae Durica, Peter Fiore, Tessa Lou Fix, Rosie Garland,  Christian Georgescu, Sherry Lee Gray, Maria Gregorio, Thomas Hanchett, Tim Hanson, Aimee Herman, Vicki Iorio, Vanessa Couto Johnson, Janne Karlsson, Kit Kennedy,  Ron Kolm, Ptr Kozlowski, Farryl Last, Mercedes Lawry, Richard Loranger, Katharyn Howd Machan, Stephen Mead, Lecco Morris,  Terri Muuss, Al Ortolani, Stephanie Papa, Anthony Policano, Joseph A.W. Quintela, Vito J. Racanelli, Dan Raphael, Zack Reeves, Gayle Richardson, Joe Roarty, Evan Rosler, Nichole Santalucia, Margie Shaheed, Eric Silver, Shelby Stephenson, John W. Snyder, Bill Teitelbaum, Christine Tierney, Aaron Tillman, Zev Torres, John J. Trause, Jack Tricarico, Harlan J. Wheeler Jr, Luke Wiget, John Sibley Williams, Sarah Ann Winn, and Daniel Yaryan. Plus interview and new poem from John Sinclair, and a poem from Michael P. Geffner in our new "Awareness" section.

I Let Go of the Stars in My Hand, great weather for MEDIA 2014 ISBN: 978-0985731731 $17.00

All our titles may be purchased via IndieBound. Other options include  amazonBarnes and Noble, or order in person or online through your favorite indie bookstor. For international orders, all great weather for MEDIA books are easily ordered through any local online or bricks-and-mortar store.

Our books are also available through the wondrous Espresso Book Machine. “Prints a book faster than you can make a cup of coffee!”

The Understanding between Foxes and Light

"[BEST BOOKS FOR SEPTEMBER READING]The Understanding…offers a cross section with new American poets to meet at every turn. The prose pieces are poetic without capsizing their genre.” – Grace Cavalieri, The Washington Independent Review of Books

The Understanding between Foxes and Light is an exhilarating and diverse collection of contemporary poetry and short fiction by established and emerging writers from all across the United States plus Barbados, Northern Ireland, France, and Canada. This is essential reading for everyone looking for the innovative, the reflective, and the fearless. The anthology also has an interview with Pushcart and Robert L. Fish Memorial Award winner Patricia Smith.

Contributors: Joel Allegretti, Hala Alyan, Todd Anderson, Augustus Arps, Michael Bagwell, Michelle Bonczek, J. Bradley, Billy Cancel, John Clinton, Abby Coleman, Dana Beardsley Crotwell, Steve Dalachinsky, Linda M. Deane, Donald Dewey, Stephanie Dickinson, Gabriel Don, John Dutterer, Robert Evory, Ellen Factor, Rich Ferguson and Crystal Lane Swift, Kofi Fosu Forson, Brad Garber, Kat Georges, Christian Georgescu, Robert Gibbons, Jeffrey Greene, Janet Hamill, Thomas Henry, Aimee Herman, Matthew Hupert, Giuseppe Infante, Ted Jonathan, Lydia Kang, Kit Kennedy, Sarah-Jean Krahn, Jane Rosenberg LaForge, Jane LeCroy, Wayne Lee, Jean Lehrman, Christopher Luna, Kathryn Howd Machan, Mary Mackey, Jerred Metz, Lecco Morris, Rick Mullin, Larry Myers, Ngoma, Thomas O'Connell, Emily Palmisano, Mariel Pauline, Puma Perl, Lynette Reini-Grandell, Karl Roulston, Thaddeus Rutkowski, Frank Simone, Mary McLaughlin Slechta, John W. Snyder, Sherre Vernon, Julia Vinograd, Ocean Vuong, Michelle Whittaker, Gina Williams, Amy Wright, and Kirby Wright. Plus interview and new poem from Patricia Smith.

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MICHELLE WHITTAKER

Hunt

You think I am lovely hunt, but there is a no in my moan, there is wanted rest from my soothsaying my oh my trailing thigh off in your mouth.

KARL ROULSTON

Plucking the Yew

It's you and your precious plans, all yellow as yesterday's camembert. All yes or no questions and camouflage.  ou and your cadmium, all of it catalogued. Everyone squinting and everything squashed. Everyone squatting in somebod's Quonset hut, the canopies covered in canapés. You and your queen-sized cot. You and your king-sized sheets, stiffly starched, and me in my marching boots. Me in my Martian hat stuck on with masking tape and you in a sailor suit, a souvenir, your jaundiced eye jammed in your putty-colored camera. You in the shoes you threw at the shaman who sold you his seat on the shuttle and me in a loose burnoose. Both of us woozy. Everything wavy. Pumice-scented suds in puddles shaped like poodles and somebody waxing polemic. Should we smother a laugh in a cough in a kerchief and saunter our way to a sojourn? I can see it now. All of the canes in racks and all of the racks in rows. All of the olives with eyes for the egrets and all of the octaves glued to the flutes. You with a tuning fork, fixing a tuna melt. Me timing goose eggs.  Both of us loaded for bear, raring to bolt.

MARIEL PAULINE

There Are More Subtle Ways For a Body to Rebel

I pray him dead every thirteenth heartbeat, marking the anniversaries since his tongue went on holiday after learning fists are harder to ignore. He was born believing my name is Sin.

Since his tongue went on holiday— dissociate has come to mean survival. After learning fists are harder to ignore when well-placed against temples

dissociate has come to mean survival. I changed his name to Bloodhound. When well-placed against temples, my atheist soul hunting fragments of familial normalcy,

I changed his name to Bloodhound. Tangled eternally, my spiced wickedness, my atheist soul hunting fragments of familial normalcy— I cannot bring myself to sift through his rubble.

Tangled eternally, my spiced wickedness, no match for his dead eyes. I cannot bring myself to sift through his rubble without glorifying every punch. My ache,

no match for his dead eyes, after learning fists are harder to ignore. Without glorifying every punch, my ache, I pray him dead every thirteenth heartbeat—marking the anniversaries.

The Understanding between Foxes and Light great weather for MEDIA 2013 ISBN: 978-0-9857317-1-7, $15.00

All our titles may be purchased via IndieBoundamazon, and Barnes and Noble, or order in person or online through your favorite bookstore. For international orders, all great weather for MEDIA books are easily ordered through any local online or bricks-and-mortar store.

Our books are also available through the wondrous Espresso Book Machine! "Prints a book faster than you can make a cup of coffee!"