February 5, 2025 • 55 mins
Dear Mr. Club Kid, you're the one in the corner of the coffee shop listening to my podcast with no headphones on because you don’t give a f**k, who orders a black coffee and drinks it all day while writing in a red notebook with a pen that hardly works... Umm sorry, we got carried away. This week we dive into acclaimed actress Mary Louise Parker’s semi-autobiographical book of letters, "Dear Mr. You." We discuss the longing for strangers, retro Coke, getting railed in the East Village, the erotic loss of the father, wearing opera gloves to breakfast, and analyze why she isn’t a hag. Light up, Moms!
See us live in Chicago on 2/27! Tix here.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Celebrity book Club. Fucking crisis. Wind, I can't wait this
goddamn scrip. Where's Hudson. Oh he's on the jungle gym.
Speaker 2 (00:19):
Fine Mary?
Speaker 1 (00:23):
Oh h Hi, Claire, Hi, how are you? Oh God,
I'm good. You know, just just reading this new script
for a play. Probably I'm not gonna do it. I
don't think.
Speaker 2 (00:37):
I just you're so good on stage. I'm such an idiot.
I'm so sorry, Like, please hate me. I totally forgot
Hudson's gunned monkey stuffed animal.
Speaker 1 (00:49):
Oh yeah, he Sallykins.
Speaker 2 (00:51):
I'm so I know he loved I'm so.
Speaker 1 (00:52):
Love that monkey. He freaks out of you think get in.
And if I was a better mother, of course I
would have remember that. But I didn't. And it's fine,
and you're amazing, and I really appreciate it, Claire, you're.
Speaker 2 (01:00):
Doing so much. So I was just on my way
to actually go see Billy is directing Uncle Vanya Playwrights Horizons,
and I was just bringing some Magnolia cupcakes. Just the
crew is working anyway.
Speaker 1 (01:14):
Well, aren't you a saint?
Speaker 2 (01:16):
Oh please, I'm a mess.
Speaker 1 (01:18):
I did an Uncle Vanya once in modern dress in
San Francisco at the Bedford Forge on Market Street.
Speaker 2 (01:26):
I would love to do theater in San Francisco. I
mean your theater. It's it's so amazing. But sometimes to
just go to a city where it doesn't matter.
Speaker 1 (01:33):
Yeah. Yeah, you think you hit the nail on the
head there, Claire, But I keep telling you myself, none
of it fucking matters, right.
Speaker 2 (01:44):
I don't even know. I'm flying to New Orleans for
this movie tomorrow and.
Speaker 1 (01:49):
Or are you working with Mike Lee again?
Speaker 2 (01:53):
Yeah, and it's gonna be me, Tucci, LAURELINI Ruffalo, love
those guys. Yeah, I don't know if the script's not
that good though.
Speaker 1 (02:05):
Tell Mark I still have his beret. He'll know what
it means.
Speaker 2 (02:10):
I leave tomorrow, but if you need anything, I can
drop by later. I just just wanted Hutson to have
the guns.
Speaker 1 (02:19):
Get from there.
Speaker 2 (02:21):
Remember bananas. Okay, you watched this show. I'm sure you've
seen a million times and it's been driving me crazy.
But it's the banana songs in my head. Bananas, bananas.
Speaker 1 (02:33):
I've been trying to limit screen time, but it's a
fucking crap shoot.
Speaker 2 (02:36):
So it's impossible.
Speaker 1 (02:38):
I mean, yeah, thanks, Claire.
Speaker 2 (02:44):
Well, I'll probably see you next week. Yeah, yeah, the premiere. Okay,
happy thanksgiving.
Speaker 1 (02:54):
Me peace be with you. Who's that knocking at the door.
It's all your friends, you filthy whorse. Your husband's gone
and we've got books and a bottle of wine to kill.
Speaker 3 (03:08):
It's Hollywood, it's books, it's gossip.
Speaker 1 (03:11):
I'm sure it's memoir. It's Martini. Celebtly book Club Read
it while it's hot.
Speaker 2 (03:20):
Celevety Poop Club. Tell your secrets. We won't talk celebrity books.
Speaker 1 (03:26):
No boys are a loud Celety book Club say it
loud and pound Celevetly book Club.
Speaker 3 (03:34):
Buzz me in.
Speaker 2 (03:34):
I brought the queer foe. Hey Ben friend, Happy February,
Happy fed but you warry? Thank God? What twenty nine days?
Thirty days?
Speaker 1 (03:46):
I know? I'm sorry? Can every month be this short?
Speaker 2 (03:48):
Seriously?
Speaker 1 (03:49):
Sorry?
Speaker 2 (03:49):
Why is February the Thursday?
Speaker 1 (03:54):
Sorry? February is the Tuesday? I can't explain it. Donut mean.
Speaker 2 (03:59):
Sorry?
Speaker 1 (04:00):
Sorry. I actually heard that Jupiter is like in the
house this year and it's gonna be huge for everyone.
Speaker 2 (04:05):
Okay, did you hear this from I heard a rumor
you got a tarot reading from yourself.
Speaker 1 (04:09):
I had a tarot reading from a friend from like
a super experimental deck where the cards were hexagonal shaped.
Speaker 2 (04:17):
I feel like every year, here's my question, how many
Taro new Tarot decks come out.
Speaker 1 (04:21):
People are always being like, I'm so proud to launch
a new deck, and it's kind of like, okay, so
the concept is like, it's just different illustrations from like
a different illustrator. That would be the concept. Yeah, like
elevating this one was different. It also had this thing
where it was like one of the cards that got
was like go deeper, try reading still I Rise by
my Angela.
Speaker 2 (04:41):
It's like, hey, why don't you take your dumb ass.
Speaker 1 (04:44):
To high school?
Speaker 2 (04:44):
Yeah, and check out this author Maya Angela.
Speaker 1 (04:48):
Like one of the other one was just like check
out this song by John Lennon. I might help illustrate
this concept. And the concept is like the snake, which
is actually a good thing. Oh, because you know Taro
is so always just like the death card is actually good, right.
Speaker 2 (05:00):
And they're like, no, that actually means renewal and snakes the.
Speaker 1 (05:04):
Way they low key all mean renewal.
Speaker 2 (05:06):
No, I mean that's what I'm saying everything. It's every
time I even hear someone getting like a terrating at
a party, it's someone pulling a card being like, oh, yeah,
so this is the death magistress. But that actually means
on the twenty sixth, you're going to start a change.
Speaker 1 (05:24):
It's always just like transformation is actually super scary, but
it is the only constant in life.
Speaker 2 (05:29):
Change change, right, No, and change technically does happen every
single day except for I feel like you were that
sweater do our last recording?
Speaker 1 (05:39):
Okay, actually stop giving them a peek behind the curtain, bitch,
close the.
Speaker 2 (05:44):
Door, don't look.
Speaker 1 (05:47):
I just like the way this sweater sits on me.
It's a little shouldery.
Speaker 2 (05:51):
No, it's not very shouldery.
Speaker 1 (05:53):
Yeah, but it's shoulder shoulder.
Speaker 2 (05:56):
It's because the mock neck, and it's a kind of
ski sweater. And I think we're coming into such a
space with winter and winter sales that are so persistent,
and it's about saying, whatever happened to the uniform? James Dean,
You know what I mean? White T shirt, blue chains.
Speaker 1 (06:14):
Your clothes, Yes, wear your clothes, yes, hashtag wear your clothes.
Speaker 2 (06:18):
And then now I can fondly think back when I
get a tarot reading in twenty years and I'll be like, oh,
that was Stephen's recording. Sweater, yes, him and his recording sweater.
Speaker 1 (06:31):
Yes. And that was a constant without change. We change
every d We changed so much.
Speaker 2 (06:37):
Someone who goes through a lot of.
Speaker 1 (06:39):
Changes, someone who is a queen of transformation, you might say.
Speaker 2 (06:43):
But I actually never even really thought of her such
a queen.
Speaker 1 (06:46):
Oh the way, She's very constant to me. Yeah, she's
kind of just like always been like this squirky mama on.
Speaker 2 (06:53):
The verge mama.
Speaker 1 (06:55):
She's definitely on the verge of a nervous thirty nine,
like she's kind of been that forever.
Speaker 2 (07:00):
It's so thirty nine to forty four.
Speaker 1 (07:02):
Yeah, her.
Speaker 2 (07:04):
In the census, and we're not talking about the nineteen forties. No,
she is one of our most celebrated kind of I
think of her as an indie actress, but she's kind
of more theater to mainstream.
Speaker 1 (07:15):
She is good in mainstream, but I think made people
probably know her from her film and TV work, because.
Speaker 2 (07:21):
Because that's all we fucking care about, right television.
Speaker 1 (07:24):
Whatever happened to plays? And she is a gay icon.
I guess just by nature of being like indie and
like kind of God is why she's a gay icon.
Speaker 2 (07:32):
She's a gay icon because she is like a brunette
on the verge of a breakdown.
Speaker 1 (07:37):
It's just the kind of mental chaos of.
Speaker 2 (07:40):
Her mental chaos, and like a woman who sometimes plays
a mother who's like being kind of a naughty mother. Yeah,
she's a gay icon for gays who love like Angelica
movie theater.
Speaker 1 (07:52):
Yeah, which is a lot of.
Speaker 2 (07:53):
Gays, also a lot of not a lot of gays.
Speaker 1 (07:56):
I guess most gays are basic. But it's what I'm saying.
It's not just Indie because I do you feel like
basic a is like her? Probably just because you're on
weeds and that's about being a bad mom. Who are
you talking about?
Speaker 2 (08:05):
None other than Mary Mary Louise Parker and.
Speaker 1 (08:09):
Her book Dear Mister U.
Speaker 2 (08:12):
And it's a literary work.
Speaker 1 (08:13):
Yes, it's very literary. It's sort of like historical fiction
poetry almost.
Speaker 2 (08:19):
Yeah, it's part memoir.
Speaker 1 (08:21):
It's all letters, yeah, and it's letters to men that
have affected her throughout her life. They're mostly anonymous. You
never quite a lot of times you're not saying exactly
right this person is.
Speaker 2 (08:31):
Sometimes sometimes it's about her father, her grandfather, But besides those,
it's either exes, teachers, teachers, mentors, gay guys, or coworkers
or like guys she saw. The mean like through line
of this book is like chaota corniness.
Speaker 3 (08:50):
I will say.
Speaker 2 (08:51):
It's also like such an actor's book because it feels
like kind of like such an acting exercise like I
got in middle school. That's like, go sit at a cafe.
I want you to look at someone.
Speaker 1 (09:04):
Wait the way, I actually had that exercise in high school.
Speaker 2 (09:08):
No, I mean I had it also at high school.
It's like, look at someone, now write about them, and
it's like who are they? What makes them cry? But
what do they eat? It's very like what do they eat?
Speaker 1 (09:20):
Yeah? And then like you think you're like being like
so interesting my writing a letter to like the janitor
at a food court the weirdest in.
Speaker 2 (09:30):
The world, because I have a notebook and a pen
and I'm writing to this weird man and I'm the
girl that maybe noticed you for the first time.
Speaker 1 (09:39):
I'd like to if I could just read the first
page of this book, which is out of control and
really sets the tone for the kind of spoken word
journey that she takes you on, and all of the
horniness and the way in which she is constructing, reconstructing,
deconstructing masculinity as it has affected her throughout her career
in life. Dear mister, you manly nature who smells good
(10:01):
even when you don't. You wake up too slowly with
fuzzy vertical hair and a slightly lost look on your
face as though you are seven or seventy five. To you,
because you can notice a woman with a healthy chunk
of years or pounds on her and let out a
wolf whistle under your breath and mean it because you
thought either rug would be fine. Really it would. To
(10:23):
you who can fix my screen door, my attitude, and
open most jars. To you who codifies slams a puck,
builds a decent cabinet or the perfect sandwich. To you
who gave a twenty to the kid selling her sheey
bars and waited three hours for me a baggage claimbing
your flannel shirt. You sir, you took my order, my pulse,
my bullshit. To you boy grown up, the gentleman's soldier,
(10:45):
professor or caveman. To you and to that guy at
the concession stand, Thank you for lying on the hood
of that car and watching stars plummet. Thank you for
the tour of the elevator cage. The sound booth, the alley.
Thank you for the kaleidoscope, the get well tequila, the painting,
the truth. Thank you for the brown diamonds and blue points.
(11:08):
To you who carried me across the parking lot, to
the er and up the stairs. To you who shows
up every so often only to confuse and torment in,
you who stays in orbit to my left and steady
used it up for me. I won't forget that. To
the one who can't figure it out and never will.
And to the one who lost the remote, the dog,
or your way altogether. To you who I've tried to
(11:29):
understand so necessary and violent, you who transported comforted and devastated,
sometimes all at once. I still have what you said
was mine. I kept that along with the memories, despite
memories being a word I loathe for both its icky
tone and wistful graveyard implications. But there it is, and
(11:50):
here I am recounting them. It goes on. But I
just kind of.
Speaker 2 (11:57):
It's so no when I read that first page and
you're like, oh, okay, so we're gonna carry, We're really
gonna carry.
Speaker 1 (12:04):
And you're just seeing it just like all her just
being like, m I'm small, men are big your hands holding.
Speaker 2 (12:09):
Your hands hold big, like jars are being open.
Speaker 1 (12:13):
And like she means like sorry, I love it when
men are interested in a thing. Yeah, please give me
a tour of your weird recording studio.
Speaker 2 (12:21):
No, Like sometimes it's like you're like, let's get back
to like this type of straight girl.
Speaker 1 (12:26):
I think the same A girl is absolutely around.
Speaker 2 (12:29):
Oh no, I mean she's around. I just bet like
I feel like we haven't like been in the mind
of one like this in a while.
Speaker 1 (12:34):
I do feel like half of Twitter is like girls Twitter,
and sum.
Speaker 2 (12:38):
Stack is like this. But I guess I'm like this
type of girl who's like I'm in fishnets, I'm in
acting class. I came over to your apartment, like who
thrives on like fucking and fighting but loving your father
but literally noticing a weird man at a grocery store
and just like coming home and like seeing your boyfriend
(13:01):
and being like and he's like, what's wrong, and you're
just like nothing. But then you go in your room
and you like masturbate the thought of the grocery worker.
Speaker 1 (13:12):
Yeah, that's sort of me, except I'm just kind of
master being while my boyfriend is in the other room
and like the door's open and he's on his dell
and I'm just like checking email, and its kind of
I think.
Speaker 2 (13:22):
That's a little different. I remember like the romance of
the stranger and the worker. Yes, a little bit, and
it's like she is journal girl, right, it's journal girl.
It's if I may to kind of hear. She illustrates
like in the beginning setting up, how she's like theater girl,
surrounded by every other neighborhood freak. We were unleashed. Freedom
(13:46):
didn't fit yet. But if I wasn't entirely authentic, I
was making friends and chokes like I'd always known how
boys were following me. I wore opera gloves to breakfast
and held my turn on with safety pins. My friend
Ken and I did our one man shows for each other.
He in a straight jacket, me and a coffin, and
(14:08):
he'd saying, it's like, I'm sorry, opera class gloves to breakfast.
Speaker 1 (14:13):
It's very sorry, I'm eccentric. Sorry, I'm thin. It's also
thin girl.
Speaker 2 (14:17):
Oh, it's absolutely It's like I'm withering away. And I
went to an old store and I found tiny little
gloves and I put them on.
Speaker 1 (14:27):
Okay, so she's from South Carolina, and I do feel
like obviously, like she is in Southern Gothic, Southern Gothic,
she's Indy, but she's not like so Northeast Indy. She's
not so like emersaying like it is a little bit
more like Stripman freaky.
Speaker 2 (14:44):
Yeah, she's more gen x like freaky girl from South Carolina,
like suburbs whose daddy was in a war. Yeah, which
like takes a lot of gravitas in this book.
Speaker 1 (14:56):
Yeah.
Speaker 2 (14:56):
And I finally moves to her like six or walk
up in New York City, and she's a little more
small town girl that comes to New York less.
Speaker 1 (15:05):
Like I think what's interesting is obviously every one of
these girls like loves her daddy and is searching for
her daddy and everyone she meets and has like a
torture relationship with her distant father. What's good for the
book is that her dad was in the war, and
so it does lend it this gravitas where you're just like,
it's not because like all dads are like distant and
(15:26):
having this relationship where they're like you know, creating this
like impossible erotic within the daughter, but like you.
Speaker 2 (15:32):
Know, it's kind of perfect timing because it's like she
can be like.
Speaker 1 (15:35):
Ooh, yeah, you can come back from the world and
came back.
Speaker 2 (15:38):
From the war, and like she has this line where
she's like there was Champagne girls, and then you came
back and the fanfare ended. Yeah, and we move into
the suburbia.
Speaker 1 (15:50):
In the seventies.
Speaker 2 (15:51):
By the way, what is your personal relationship to the war? No,
to Mar's partner.
Speaker 1 (15:57):
I did watch Weeds in high school, which I like, I.
Speaker 2 (16:00):
Don't know if it came before Nurse Jackie, but it
really set off the like premium cable show about a
woman who has a has.
Speaker 1 (16:12):
It all figured out about the dark side of suburbia.
Speaker 2 (16:14):
Yeah, Nurse Jackie.
Speaker 1 (16:16):
I watched Anti Here, I watched Six Feet Under, and
I watched Weeds, and like, Weeds is more of a comedy,
and I do remember thinking that the opening sequence, I
was like, fuck, yeah, that's so accurate. I like everyone
in the suburbs has bread to be the same man,
because like, I really did grow up in the suburbs periods.
I'm not in the like insane cookie cutterway of like
(16:37):
you know, Western like southern California suburbs or like most
country like.
Speaker 2 (16:41):
People have been wondering if you really grew up in
the suburbs, but.
Speaker 1 (16:44):
You grew up in the city, like you are like
a city You're.
Speaker 2 (16:46):
Literally a city girl. You're like a suburb girl. And
like your mom made you lunch. Me, I had to
walk to a really cool underground Japanese market below the gap, okay,
and that's what in for me, Like I was discovering
new pizza places. You were out there having fucking tomatoes
soups that mommy made you insane.
Speaker 1 (17:09):
They did have me bringing soup to school like in
a container.
Speaker 2 (17:12):
I was more just shocked once when like your mom
asked what you wanted for lunch.
Speaker 1 (17:15):
And I was like, no, oh fuck, because your mom
was so just like I have dandelion greens and granola
that I dried.
Speaker 2 (17:27):
It's self dried granola.
Speaker 1 (17:30):
Yeah. Because the thing is Cambridge were more like bringing
raisins into the movie theater, which was like horrifying.
Speaker 2 (17:46):
My relationship with Mary Louise was kind of mostly Fried
Green Tomatoes where she plays Southern, which is one of
the most heartbreaking lesbian iconic films of all time, movie
about cancer. Also, she dies of cancer her and she's
like wilting away as like the femme and she dies
of cancer and her like Butch is like holding her hand,
(18:08):
like watching her die, and it's like so sad.
Speaker 1 (18:10):
Wow.
Speaker 2 (18:11):
Have you never seen it?
Speaker 1 (18:12):
Maybe I have. It's not ringing about.
Speaker 2 (18:14):
It, it's about too She has an abusive husband who
goes missing wink. It's very the Dixie Chick song. Earl
had to die, yes, Okay, and then her and her
best friend open up a cafe and it's called Fried
Green Tomatoes and they're quote unquote best friends.
Speaker 1 (18:29):
Wow. So it's an iconic lesbian film, like If these
Balls could Talk.
Speaker 2 (18:33):
Yeah, but it never like shows them hooking up because
they didn't do that in the nineties. And it's like
Kathy Bates is like her granddaughter and she's like discovering stuff.
Speaker 1 (18:41):
Oh, and it's about like black flashbacks. Yeah, that's cool
and beautiful. So I can see why she would have
had an impact on you for that film, right.
Speaker 2 (18:48):
So I feel like it's like you were connected through
the suburbia of like, oh, I see all these moms, yeah,
and they seem like it's okay, but I know it's not.
Speaker 1 (18:55):
And I wasn't even into weed, as you know, in
high school. But I guess I just like the kind
of like entrepreneurial aspect of that show and about how
she is like a budding she boss.
Speaker 2 (19:04):
You were like, we'd bad she boss good.
Speaker 1 (19:07):
Yes, It's like I hope she channels these geo aspirations
into something a little bit more legitimate.
Speaker 2 (19:13):
I think what I was talking about, like her heterosexuality.
I find the all like because everyone now is like bye,
and I'm like, I guess this was like not shocking
to me, but like a true testament of this, like
jen X dark girl heterosexuality. That's like, this.
Speaker 1 (19:28):
Reminds me of backlist sex. Yeah. Who we love who
is a writer and poet in the San Francisco area.
Speaker 2 (19:33):
Literally our favorite writer, And I wonder it's like the
way she writes is this like iconic spoken word way
of writing, which is always just saying you did this,
you did this, you did this.
Speaker 1 (19:44):
Yeah, the parallel structure, right, it was parallel boots.
Speaker 2 (19:48):
Yeah, And to write this whole book that's like, okay,
let's just I think we need to list the men
that she talks about. She goes from like high school boyfriends.
Then it's like her juggling acting teacher who wanted to
fail her, which is like the funniest.
Speaker 1 (20:04):
Interesting even though I made myself everything you wanted me
to be. And he was like, you're using your sexuality
too much in juggling.
Speaker 2 (20:11):
Class, which is like that's such a type of girl
who like in the class like thinks she is like
absolutely slaying the house down boots. And then like the
teacher breaks her and he's like you're bad and I'm
gonna fail you, and she goes in his class and
she's like, you don't fucking get me.
Speaker 1 (20:32):
Okay. Then there's this local Yaqui Indian boy.
Speaker 2 (20:37):
Oh yeah, well.
Speaker 1 (20:38):
I guess it's like on is it like so local
reservation in South Carolina?
Speaker 2 (20:42):
Yeah, that she's like visiting and that is very like
Anita Franco to me.
Speaker 1 (20:46):
Okay, but this part to me was so like Rose McGowan.
She's talking about like just like growing up in this neighborhood.
She's in her teens and she's like looking at this
boy again, it's like it's not clear if I feel
like he's in a mouth gum of like boys that
are her age.
Speaker 2 (21:02):
Yes, Like some of these are very like this is
about a man and this is Some of them are
like this is a collection.
Speaker 1 (21:07):
I was the only white person for Miles and Blanca.
I was pale ass notebook paper without the lines.
Speaker 2 (21:15):
It's extremely like a white girl like a night which
also we would love like a deaf comedy jam white
girl poetry. He's like, yeah, I'm gonna do an accent.
Yeah for this entire blank just mean like I was
a Blanca. We were looking for a dope and cookaine
on the streets and You're like, what is going on here?
Speaker 1 (21:39):
Because I feel like we said I was the only
white girl from Miles. She just means like on this
stretch of the like bus ride that she's.
Speaker 2 (21:44):
On, Yes, she's the only Blanca girl.
Speaker 1 (21:47):
Yeah.
Speaker 2 (21:48):
And she's like, first the houses are nice, then the
yards are piled with laundry and broken down bicycles, and
you're like, oh, oh wow, Mary Louise is really painting
a portrait of him. Yeah, she's race and class in
America an industrial decline in the Southeast. I also was
(22:11):
trying to figure out on this, Like so it's like
she was married to Billy Crudup and they were together
for seven years, then once she was pregnant, he left.
Speaker 1 (22:19):
Her for Claire Danes, which you guys may remember from
the Cold Open at this very episode.
Speaker 2 (22:23):
Which reference and then it's like, I feel like he
was with Claire Danes for like.
Speaker 1 (22:26):
Eight years and now he's not with.
Speaker 2 (22:28):
Her, and now he's with Naomi Watts.
Speaker 1 (22:31):
Okay, that's so crazy. It's like because they're all so similar.
Speaker 2 (22:35):
I was like, he's going from one shaking woman to
the next day.
Speaker 1 (22:39):
And they're all so West Village in peak coach.
Speaker 2 (22:43):
And just like actresses who love film but their passion
is theater.
Speaker 1 (22:47):
Okay, when she talks about the dog like that was
so that Naomi Wats movie The Friend that we just saw.
Speaker 2 (22:53):
I know, and I think Billy Croudup was there, yes,
but so is Lee Schreiber. It was like X and
Current were there.
Speaker 1 (23:00):
Leaf Drivers should just now Dave Mary Louis Parker and
like kind of start the cycle all over again.
Speaker 2 (23:05):
Yeah, I'd make it like a full circle.
Speaker 1 (23:07):
I moved into your cage that night. There was plenty
of floor spaces through my routines, which delighted you. I
discovered I had a gift for making you laugh. Sometimes
the antics worked on the street, and that was the best.
You'd throw your head beck in hysteria, Pully close kissing
my forehead. Oh wait, this was about a boyfriend who
is like three headed.
Speaker 2 (23:25):
Yeah, and it's like this monster of all boyfriends, right right, right,
right right. But then okay, so I would say, like
when it gets to real passion, she's talking about this
boyfriend who she calls Popeye and oh.
Speaker 1 (23:37):
Wait, this was the pussy gauntlets.
Speaker 2 (23:39):
Yeah, and it's like this guy who comes over for
a fuck fest. As she calls it. I mean, this
seems crazy and it's insane, and he's like.
Speaker 1 (23:47):
Read it, got out the towel.
Speaker 2 (23:49):
Okay, are you ready for this?
Speaker 1 (23:52):
So he is handl it?
Speaker 2 (23:55):
Can I handle it? Sorry, I'm trembling. The floor is
soaked at I heart. Dear Papa, you bolted from work
that morning and took a cab sixty blocks for a
fuck our lights out festival. You busted and took me
from dreams by throwing your backpack on my floor and
(24:16):
then throwing down the pussy gauntlet. I roused and rallied
and smiled, and you tossed me across the bed. You
could have had me fine in the direction I was facing,
but it was a morning that needed a bodily, happily
pitched across a duvet with a guttural mm A morning
that begged for bodice ripping and hair pulling and whispering
(24:39):
and taking off and taking me away. Okay, I want
to skip over to if you want to take it
later on in fifty eight. You want to skip over, no, no,
no to fifty eight to get the Coca cola part.
Speaker 1 (24:50):
You don't want to read. When I was waking the
homeless on the streets with my Oh Gods, you slammed
into neutral at the end of the inn part of
the next in and out, you pulled fully out of
me and backed off the bed like I was a
parking space you were deciding against. After several attempts to nail.
Speaker 2 (25:10):
Yeah, that was wrote. That is an Audio de Franco lyric.
It reminds me of the lyric My pussy is like
a tractor and you're the tractor pull.
Speaker 1 (25:25):
So what's the like corn in that scenario?
Speaker 2 (25:29):
I guess his dick is the corn and the tractor poll.
Speaker 1 (25:33):
Okay, sounds violent.
Speaker 2 (25:37):
Mangled, Okay. Later on, at which point I heard what
you opening my fridge looking for something in a drawer
Emodium Brian song on VHS. But then I heard a
pop and a fizz. You appeared again, Renaissance fair stud
with your cock in one hand, not because it needed reminders,
(25:59):
because you wanted in that hand, while the other hand
gripped a bottle of coke classic, the old school kind,
which doesn't it taste so much better?
Speaker 1 (26:12):
Like that? Of course she's just being like retro.
Speaker 2 (26:15):
She's a little bit like, sorry, why does cocon a
bottle taste so much?
Speaker 1 (26:19):
And I'm imagining that it is like this kind of
like like an old fridge that's like a little bit
curved on the side, you know what I mean.
Speaker 2 (26:25):
This book takes place in the East Village, yes, and
it's white and it's dirty, but it's a big metal Well.
Speaker 1 (26:30):
Actually that's kind of true because this is the most
East Village seen and like her stalking the fridge with
like classic coke, even though I could imagine like East
murray Hill, Well, I was just gonna say, I could
imagine West Village girls like today having a specialty fridge
that's just old coke. It's so well, yes, that's very
like from tom yeh, can't you mention like liv Tyler
(26:53):
or just like what's his name? The faggot Neil Patrick Harris.
Speaker 2 (26:58):
Oh, and he has been like this is our retro
diet coke. Reading this book, I was like, this is
such a woman. I would clean for twice where.
Speaker 1 (27:13):
We're going to go with someone else.
Speaker 2 (27:14):
Yeah, she'd be like the first time, like I would
show up and she would probably be like so frazzled
and be West Village and she would thank me so much,
and she'd be like, oh my god, it's a mess
in here, and it wouldn't be that much of a mess,
and she'd be like, can you please do with the
inside of the fridge, And then I would and she'd
come back and she'd give me forty dollars and be like,
you have to come back. You saved my life, and
(27:36):
like she would confess something to me that she wished
she could confess to her friends, but it's more fun
to confess it to her weird maid. Yeah, And then
I would come back the next time that I.
Speaker 1 (27:48):
Would seize you because she's weird girl, and.
Speaker 2 (27:50):
She'd be like, oh wait, we're both weird girls. And
then I would kind of maybe come back the second time,
but I would arrange her olaplex the wrong way in
the shower and she would be like, just next time,
can you not put things back in the wrong way?
And then I'd come back the third time and it
would just be like she wouldn't be there because the
(28:11):
second time you came in and she was just like, oh, like,
do you want a tea or something.
Speaker 1 (28:17):
She's like trying to chill.
Speaker 2 (28:18):
Down, chill down, just like I don't know what I have,
but I have tea.
Speaker 1 (28:24):
She is this mannic Pixie dream gen X. The part
where she's talking about this like kind of like guy
who has a van, and the whole chapter is to
this guy who has a van who's like random, and
she says, who like invented burning Man? She goes, you
took anyone's idea of modern life and set it on fire.
(28:45):
Decades before anyone dreamed up burning Man. You didn't need
to rent an RV with Wi Fi and talk about
whole foods to drive somewhere and let the mad men
into your third eye. You found it and let it
all in and out again and had it going on.
Speaker 2 (29:00):
M No, that chapter to me was the most like
m This one definitely isn't true where she's like talking
about her like trans man coworker.
Speaker 1 (29:09):
Wait, is this in that same chapter? Yeah, in Dear Blue.
Speaker 2 (29:12):
In Dear Blue one second, I have the page forty one.
This to me is very like a straight girl. That's
like I would totally date you if I was gay.
Some days, joining me at the scale was a sweet
and sullen transgender boy named Lux who wasn't but much
better than I was. We got in trouble for throwing
a block of guda up at the ceiling fan to
(29:35):
see if it had come down in chunks, so they
separated us, fucking wreaking havoc of our coalk. They had
one of us bag well, the other one stock dry,
which meant standing in the refrigerator and plenishing all the
yogurt and keefer and freezing our asses off. I found
the scale confusing. Was never good at mad a gun.
Speaker 1 (29:55):
That's just like, sorry, I'm a girl, I'm number stupid.
Speaker 2 (30:01):
I mean, it definitely reminded me when I worked at
Dimes Market and my friend who was my manager, was like,
you were ringing up things that we hadn't sold in years.
Speaker 1 (30:14):
You were like so bad at the like pos system.
Speaker 2 (30:17):
Yeah, and like when something like if it was let's
say a bulk item didn't show up, I would just
be like, well, let's just choose something else, like who cares?
Like period dates, whatever, I'll choose like rab B Marrigolds,
like who cares?
Speaker 1 (30:31):
Yeah, no reason to alert the authorities every time the
beat are dimes police. Yeah, it's just fucking buttons on
a screen.
Speaker 2 (30:40):
As a fun tipped up No, I'm not meant for
the market.
Speaker 1 (30:46):
Okay. When she goes, Nalie and I would combine all
our wash to save money, and we'd dance on top
of the machines with some mild flashing of body pots
to passos buy if we'd drink a few bews.
Speaker 2 (30:57):
No sorry, literally indie movie were girls laundry.
Speaker 1 (31:01):
And dance on top of machines and like accidentally flash
a tit at a creepy old man in the street.
Yeah that's right, take a picture at hey.
Speaker 2 (31:08):
Look at it. You want to suck it. She's just
like my nipple freak, No, come in. And then she
takes it a little too far and her friend is
actually like sketched, and then she like does look up
with the guy and she's like, what are you doing this?
Speaker 1 (31:25):
It is weird. So then she does like moves.
Speaker 2 (31:30):
Into gigas fabulous. It's like childhood daddy wore vans, bad
jobs cock and then it's like, dear mister miss.
Speaker 1 (31:42):
Thing, Miss Thing, she's so just like meeting miss Jay
like on the street by Chateau marmont Uh, dear miss girl.
We bombed in about five minutes over lemonade and fries
to the Chateau marmont Our shared devotion to skinningcare was
only the cherry, just like her, literally talking about wizzredzer
once no, and she's.
Speaker 2 (32:01):
Okay, I'm sorry, you're my sister.
Speaker 1 (32:05):
Well he miss p town ha. Miss can't find me
a place to park in front of the sunset, Marquee,
miss woman, you always greet me with the bright face on,
even when one of us is a tad suicidal. We
managed to laugh about something.
Speaker 2 (32:18):
To hear a girl discover that there are gay guys.
It's really beautiful.
Speaker 1 (32:23):
But here's the thing is, it's like she's not actually
a hag. She's like too chaotic and thin to be
a real hag, so she doesn't have the like sturdiness
to support gays and like have that like repository of memories.
Speaker 2 (32:39):
Well, which is actually actually kind of so glad you
said that. I think we just hit up why she's
actually a gay icon. Yes, it's because she's not a hag. Okay,
well sorry, we just self robes. It's like gay guys
love her, but it's like she's not being like a
(32:59):
stride is. And you know, it's like she's this like
dark girl that they can be like, oh girl, yeah.
Speaker 1 (33:07):
No, and she's flouncy and freaky.
Speaker 2 (33:09):
I will say something freak with them, but like she
doesn't need to depend on them for her only moisturizer conversation.
Speaker 1 (33:15):
No, she doesn't need gay guy. It's but like she
obviously preaches them and has seen so many dibades and
loves that.
Speaker 2 (33:21):
Yes, and she has like a gay mentor, like who's
being like, oh, honey, I had so many boyfriends you
would have loved And she's been like, oh, I'm sure
I would have loved your dead gay friends. Okay. Did
you think it's in her chapter Emergency Contact where she
talks about this person who owns like clearly a fabulous store,
(33:45):
comes and like helps her in the hospital. But I
couldn't tell if it was like a fabulous old woman
Patricia Field style or if it was a gay guy.
I think because basically, like the story is like she's
in the hospital and it's like it's probably because she's
like dehydrated and like has kidney stones or like some
just like overworked, like girl proable.
Speaker 1 (34:06):
You have on light flannel trousers and a perfect white
shirt even for a fashion designer. You look sharp.
Speaker 2 (34:13):
Sounds gay guy that also could be old woman in.
Speaker 1 (34:17):
Like perfect Yeah. Is it like Betsy Johnson or like
Lazaro Hernandez because.
Speaker 2 (34:22):
She's like, I came into your store when I was
fucking nothing and you still dressed me. She's like I
were spending woman who's like smoking a cigarette being like
have you heard of Elsa's ship Arelly?
Speaker 1 (34:35):
Yeah, Like I think it's just like Tory Burn it's
Kate Spade, honestly, maybe it like is Kate Spade? Yeah,
because she is kind of like girly. Her style is
very like little like pillbox.
Speaker 2 (34:50):
Dressed, like yeah, it's like big fur coat that she's
like drowning.
Speaker 1 (34:55):
Yeah, which is kind of Kate's Pade. She's very Kate
Spape back to me.
Speaker 2 (34:58):
And what's nice about this This is kind of fantasy
fiction for us because it makes the reader, yes, yes,
who she's talking about.
Speaker 1 (35:05):
I love that ambiguity.
Speaker 2 (35:06):
And being like, is this about your next husband?
Speaker 1 (35:10):
Yeah, like the like rocker that she is obsessed with
who like plays harmonica, And it's not Bob Dylan, and
it's kind of unclear who it is, and like she's like,
you weren't the Beatles, Like you were so cool and
I can't believe that one time you let me on
stage like near your bongos, And I'm like, is it
just like Mick Jagger or is it someone like way
less famous, or is it.
Speaker 2 (35:30):
Just so like the bassist of Blues Traveler, Yeah, or
like Adam Duritz.
Speaker 1 (35:36):
I don't think it's Adam. I think it's someone from
before him, Eric Clapton. Maybe it's Eric Clampton.
Speaker 2 (35:41):
He sounds mouthy though, because there's this part where like
they're in a fight. She's in a play and he's
reading the bad review to her, because years after that,
on the day the play I was doing was met
with a widespread hatred. You chased me around your hotel
room in a robe, reading a scathing review a loud
while I held my hands over my ears. Let's demystify it,
(36:03):
you shouted, it's better to hear it. This guy hates
you so much. It's almost funny. Later, while I sat
crying on the couch, you recounted the meanest attacks on
your own work just to make me feel better. I
almost got married to someone in your living room, and
then I did it a few days after that. It's like, yeah,
an older man where it's like she would get married
(36:24):
to someone in his living room.
Speaker 1 (36:25):
But has also like fucked him.
Speaker 2 (36:28):
Because I heard the rumor that the Chill Crow song
my favorite.
Speaker 1 (36:33):
Mistake is about Eric Clampton. Yeah, okay, Yeah, she's a
different vibe than Mary Louise Parker for sure, if you're Eric,
but I could.
Speaker 2 (36:41):
I mean, he's a man naning. It's not like they're
so different that he's like yeah, but it's like Sheryl's
western hippie chick and Mary Louise's theater indie journal girl.
Speaker 1 (36:53):
Yeah, but they're both like Southern Gothic in their own way.
Speaker 2 (36:56):
Yes, with wavy hair.
Speaker 1 (37:00):
Okay. I want to talk about the last chapter, which
was so devastating. So this book, obviously it's all about men,
and kind of the undercurrent is like who is the
you know, the the first and last, your last man
in your life, the primordial man, the er man of
every dark girl's life as her father, and it's about
her father dying and how he loved oysters and she
(37:21):
like gets oysters for him, like right before he dies,
and so the letter is to this oyster picker who
got the oysters. And the cover of the book is
actually a photo of an oyster with dear mister ew
and Corey were font on top of the oyster. And
when I saw that, I was like, oh, it must
be like about desire and neuroticism, because it's an aphrodisiac.
But it's actually about this moment about her dad.
Speaker 2 (37:41):
Okay, but wouldn't you say those two are utterly connected
up solutly the erotic of the imprint. It's the first
man you see love someone or not love someone.
Speaker 1 (37:54):
Yeah, I mean the death of the father is in
many ways like the most anything that can happen to you,
because it.
Speaker 2 (38:02):
Was the horniest day of my life. I'll tell you
that seeing his body under a painting of the Revolutionary War,
a conquered funeral home soaked we have to laugh about.
(38:22):
So I cried on the train. And of course I
finished this book a much earlier, but I was reading
the last chapter on the train over over absolutely absolutely,
And I mean it's just so inch in the way
she know, it's like the way we like idolize daddy,
and you know, it's like she sees all these things
of like how you know, the war and how he
would buy her mom, you know, Valentine's Day presence months
(38:43):
before Valentine's Day, but then later on it's like the
pain of this man who like couldn't provide the way
he wanted to.
Speaker 1 (38:51):
Yeah, and just all the little like you know, indignities
of that moment and the dad kind of trying to
hold it together and being sweet and like all the
little things he says, as you know, he's trying to
be grateful to his daughters, and every little moment is
just so heartbreaking. And she is quite poetic about it.
She talks about the first time the sister has to
refer to the done in the past tense. She tried
to complete a sentence that began with he was, but
(39:12):
could not and didn't have to. Her inability to finish
that sentence and the flush that filled her face as
she looked for words worthy of him, were enough to
finish it. For the men who understood. One of them
reached touch her arm My brother shook their hands after
they looked at his picture, whispering acknowledgments to us that
they would remember his face and thanking us for letting
them see it. They were full of grace. She's like
talking about the pall bearers.
Speaker 2 (39:34):
It's like ugh, but then it was so sad right
before that, when the dad gets carried away and her
sister reaches for her and she pushes her sister away.
Speaker 1 (39:42):
Yeah, well there's this sisterly thing because she also says like, yeah,
my sister's the pretty one, which like the sisterly rivalries me,
I mean obviously like siblings are always fighting one apparent dies. Yes,
But she's also so actress in the fact that she's
like pretending like she thinks her sister's the pretty one,
like to be like humble, but like I'm sure and
at some deep levels she actually thinks that she's the
pretty one.
Speaker 2 (40:02):
Absolutely. I feel like it is very like an actress
thing to be so like I don't know, I was
the one who got sees and wasn't pretty at all.
I mean, my sister though she's beautiful, and she's referencing
like her sister who's like a social worker who lives
in like Charleston. She's like, she's so.
Speaker 1 (40:22):
Beautiful, but of course he down. She think you're like,
thank god, I'm not that boring bitch.
Speaker 2 (40:27):
Stuck in Charleston. Finally, Insurance claims her smile was so
beautiful though, and then right before that chapter is a
letter to her daughter's future boyfriend.
Speaker 1 (40:40):
Oh, I mean she's being psycho in that right.
Speaker 2 (40:43):
Go Boots, where she's almost like horny for the daughter's
future boyfriend.
Speaker 1 (40:49):
Yeah, it's too much, Okay. The ending actually really reminded
me of Nora Efron's book at the very end when
she's talking about buying bathoil and like this kind of
meant to art and pleasure. At the very end is
you know, I think quite apropos for an artist, and
it's clarifying what really matters. I will tell you now,
(41:11):
Oyster Picker. The night after he had your oysters, he
stopped speaking. Everyone went to sleep except me, and I
sat next to him holding his hand. The last thing
he said to me was squeeze my hand, please. I
held it into the last breath flew out, and he
went wherever it was he'd found, where he wouldn't be
scared or lonely for us, where he would continue on
with the things you and I don't know about yet. Then,
(41:32):
because he was the wizard of all fathers, he asked
me what I was doing, like that should have mattered.
I said, well, okay, I'm saying in this really awesome bookstore.
You'd love it, I said. He gave a sigh of
longing and said, oh my, tell me, do they have
anything interesting? I said, yeah, tons, I'll send you a
book from here. How does that sound? He said, that's wonderful,
that's just tremendous. Thank you, Sweetie. Told him I was
sending him some candy too, and he thanked me, said
he'd be on the lookout for And then he said,
(41:53):
tell me, what are you writing now? You work on anything? Said, oh, Daddy,
just little things I don't know. And he said, okay,
well listen to me right, keep writing. Promise me that
you will. And that's the book Stunning right.
Speaker 2 (42:06):
Where Louise and she kept writing little things.
Speaker 1 (42:09):
Little things, And I turned into this book. It's like
it's a beautiful tribute.
Speaker 2 (42:12):
I wonder what her sister thinks of this last paragraph. Hmmm,
because it's so like Doddy held onto.
Speaker 1 (42:18):
My hand right, Daddy held in my hand. Daddy told
me to write, and look, I wrote this beautiful book.
And what did you do?
Speaker 2 (42:25):
What did you do? You did so much?
Speaker 1 (42:27):
Yeah, you did so much. You're a nursing administrator.
Speaker 2 (42:33):
But remind me because then in this chapter before she
makes it like all about like brothers and sisters. So
I found it a beautiful actually owed to siblings, even
though as corny as it is. And like the chapter
before where she's been like, promise me to like fight
with my daughter and make her almost leave you, but
(42:53):
then treat her like the queen she.
Speaker 1 (42:54):
And also promised him make my daughter jealous of your
relationship with her uncles.
Speaker 2 (43:00):
Was like, what the hell? It was like it was like,
be so fucking close to her with her brother and
her uncles.
Speaker 1 (43:08):
She actually sketched out.
Speaker 2 (43:10):
Except she's so happy because you have such a close
relationship with them and invite her brother over whenever.
Speaker 1 (43:16):
Yeah, And I was.
Speaker 2 (43:17):
Like, Okay, that is cool because.
Speaker 1 (43:19):
It's just like she doesn't want the sibling.
Speaker 2 (43:22):
Your siblings are your teammates in life.
Speaker 1 (43:25):
Yes, no, and blood is the tie that binds and
they are still there few no.
Speaker 2 (43:30):
Matter what to quote My favorite mean page hard core Italians.
If you folk my family, I grab a shovele.
Speaker 1 (43:41):
That's so poignant. Thank you.
Speaker 3 (43:43):
I know, dear mister s how do live?
Speaker 2 (43:55):
What does she wear?
Speaker 1 (43:56):
What does she eat?
Speaker 2 (43:57):
Does she eat like not much honey, just picking I
mean oysters, carrot salad. Yeah, she's very Russian.
Speaker 1 (44:06):
Doing like meals for the week on Sunday.
Speaker 3 (44:09):
No.
Speaker 2 (44:10):
I think she sometimes is like I'm gonna roast a
chicken every Sunday.
Speaker 1 (44:14):
And it's a little chaotic, and she's not putting until nine.
Speaker 2 (44:17):
She's me Yeah, she's eating at midnight and then she
has no way. I think she likes pickled beets. I
think she loves like a beat goat cheese salad.
Speaker 1 (44:27):
Her pists sounds purple as fuck.
Speaker 2 (44:31):
And I think she does do like a beautiful roast chicken.
I don't think she's doing like four salmon's and like
chicken meatballs and it's like no. But I think she
loves Greek food.
Speaker 1 (44:42):
Is she going out a lot? Is so any cohen
and going away really in? Or is she more like
ordering sushi after she really gets to make dinner.
Speaker 2 (44:50):
I guess like with the kids, she probably was actually
making them like so many like healthy salmon.
Speaker 1 (44:55):
Wraps and they're taking salmon to school.
Speaker 2 (44:58):
No, I mean at dinner, like but the Annie a
stalk for the kids.
Speaker 1 (45:02):
Maybe she's more like johenn Ackson, you think. And she
is just making peel off and she's making rice and.
Speaker 2 (45:07):
Like and it's very near East's.
Speaker 1 (45:09):
Near East, like couscous in near East Surfries.
Speaker 2 (45:12):
Yeah, for sure, what.
Speaker 1 (45:13):
If she wears we discussed she's like girly, so I
feel like she likes kind of fifty silhouettes and like
poodle skirts and like poodle skirts and like little handbags.
Speaker 2 (45:24):
I think it's like fifties sixties, like it evokes Jackie Oh,
and it's like little slips and like beautiful, more like
evoking the twenties, these like silk dresses and like little bags.
I don't know if it's going full poodle skirt, I
mean that like puff out.
Speaker 1 (45:40):
I don't actually know what a poodleskirt means. I feel
like it's a silk skirt that is like structured, almost
like a peplum.
Speaker 2 (45:46):
Poodle skirts were like tight on top and then very
structured went out and had like cleats. Yeah, and has
then embroidered poodles on them.
Speaker 1 (45:56):
Sure, they don't have to.
Speaker 2 (45:58):
I think it's more like ninety slip.
Speaker 1 (46:00):
And I don't think she's talking. I don't think she's so.
I feel like she's more in these fifty silhouettes that
are like more Ballerina where the skirt's going out.
Speaker 2 (46:07):
I disagree, but we can kind of fact check that
on when we go through her like red carpet vibes.
I also think it's more she has like so many
beautiful bags and like beautiful bracelets, and like such nice
cashmere sweaters, like huge Kashmir sweaters.
Speaker 1 (46:23):
I just got some piping hot tea from someone who
is friends with someone who was her assistant, okay, and
said she's an odd bird, but very sweet and pretty
devoted to her kids.
Speaker 2 (46:38):
Okay, so she is making like so much Peeloff and
Sam And.
Speaker 1 (46:42):
That's keelof to me, that comment I just received, screams Peelof.
Speaker 2 (46:47):
She loves the kids, absolutely, Yeah, but when the Knights,
when Claire has them, oh hell break slips. Yeah, it's
Waverley and Mama. But I also see her like being
like I'm gonna cook for myself alone, and it's a
beautiful gloss of pino noir.
Speaker 1 (47:03):
Yeah, for sure, glass of wine, and then her friend's
being just like, Okay, you need to go with this guy.
He's a playwright. I know, no more playwrights, you told me.
Speaker 2 (47:11):
But I think I'm just focusing on me and my writing. Yeah,
how does she live now? I think it is Even
though this book is so East Village, I feel like
she is so West Villinan.
Speaker 1 (47:20):
She's a funky West Village. She's so like, so this
is a lunchbox that I got in Morocco. I know,
just bear with me, hold on. And then she's like, uh,
these are these tiny little German figurines that they used
to make in the c and like people think they're creepy.
I don't know. I think they're beautiful. I'm weird.
Speaker 2 (47:38):
Yeah, it's a little Dutch paintings of like a weird baby.
Speaker 1 (47:41):
Yeah. I mean it's pretty Carrie Fisher.
Speaker 2 (47:43):
Yeah, but not as like, not as novelty.
Speaker 1 (47:46):
Yeah, a little less like comedic.
Speaker 2 (47:48):
I think there's like some gorgeous like velvet she lounges
around where she's like flopping down to rediscuss.
Speaker 1 (47:56):
That that gets into that she's just more girly, and
so I think that she has this whole thing where
she's like, sorry, it's my little corner of Paris. Paris.
Speaker 2 (48:02):
Yes, vanity table, old mirrors.
Speaker 1 (48:05):
Yes, mother of Peril.
Speaker 2 (48:07):
The kitchen is dark tones. I almost think it's a
Greens and Navies.
Speaker 1 (48:10):
And I think there's like some like colored glass doorknobs.
Speaker 2 (48:14):
Hard to find a TV in that house.
Speaker 1 (48:16):
But when you find it.
Speaker 2 (48:17):
It's there, and it's cozy as fuck.
Speaker 1 (48:19):
Yes, it's surrounded like books and fabric.
Speaker 2 (48:21):
And I think the bed is high in.
Speaker 1 (48:23):
A princess way. Yes, And there's like a little Villavet
footstool to get onto the bed.
Speaker 2 (48:27):
Because so many like men when they come over, they're
like tossing her around, and the bed needs to be
sturdy for like a sixty four year old rocker to
fuck her.
Speaker 1 (48:36):
In the only way we could have it so wrong.
And she's actually so like coastal California post weeds, and
like the bed is low, it's all beige. I'm just
gonna put that out there and say, maybe that's also true,
but I think it's the first and.
Speaker 2 (48:47):
It's a rental. Both have probably happened in her life.
She's lived a lot of lifetimes. Yes, who are you
in the book? I think you you're NASA.
Speaker 1 (48:59):
Thank you, NASA, Thank you NASA.
Speaker 2 (49:01):
I didn't believe in you, but now I do.
Speaker 1 (49:03):
I definitely feel like, I mean, I identify with her
and the Popeye see just being like, fuck this howt
guy is getting a coke turned on. I'm so turned
on by these like little moments of like casual masculinity
in the midst of my deflowering it.
Speaker 2 (49:18):
Also, I mean it feels very ute just in general,
like write poetry to like someone random, someone random, Like Okay,
the chapter where we didn't even talk about where she
meets this guy that's like very put together and is
dying and they have this connection and she's like, we're
already soul mates. I knew it in two minutes. Yeah,
it feels kind of you.
Speaker 1 (49:38):
Yeah, Okay, I do feel like you're kind of like
in that scene with the ex boyfriend when they're kind
of fighting and he's just been like I want Mexican
and then we going bacon like yes, very you.
Speaker 2 (49:51):
Yeah, well, because that's also very mean to like I
feel like be in a fight with a lover and
not realize it's because I'm actually starving.
Speaker 1 (49:58):
Yes, yes, I put my hand on your back and
said sorry, babe, I know you're starving, you said, voice
cracking from the memory that you'd only had half a
pop tart and am still light twenty three hours ago,
and now you felt like an outlaw. I said, wow,
I said, don't cry. You said, I'm not crying, God
damn it. Yeah, that's yeah.
Speaker 2 (50:16):
But I'm still like, we need to go somewhere iconic.
Speaker 1 (50:21):
You're goggling eaters, like, what do I get this book?
I give this a book?
Speaker 3 (50:27):
Ah, I loved it.
Speaker 1 (50:29):
I'm point yeah four five like touching missives to a
dead father, four point one vintage bottles of Coca Cola.
I think that I love the form. Yes, I love
the format and the breaking of form and a non
traditional memoir. And I like this sort of like you
don't have to call this auto fiction, no, because it's
(50:51):
not like a narrative, so it's already like built into
the format of like writing these kind of anonymous letters
that it doesn't have to be to a real person.
Speaker 2 (50:57):
No, it's memoir like enough, even though like it's fiction.
It's about her and it's about her life, and it's
about how she feels and how she dates and how
she fucks and how she loves.
Speaker 1 (51:07):
And it's you know, I mean, it's about her emotions
and feelings and she's getting at them without having to
say this happened.
Speaker 2 (51:12):
In this happens, you're almost getting more of a real
sense of the person. Then let's say, you know, if
she wrote a story about like and then I went
to tish.
Speaker 1 (51:21):
It's a beautiful, revelatory piece of literature. And I encourage
you all, after listening to this episode to head over
to your laptorp and write a letter to someone.
Speaker 2 (51:32):
Mmmm. It can be to yourself, okay, Chiles, or just
someone masculine or not. Yes, you don't have to go
to Mary Louise Way.
Speaker 1 (51:44):
We love you, We.
Speaker 2 (51:45):
Love you, Keep writing best best.
Speaker 1 (51:50):
Dear producer Darby Besters, whose lips pulsate with the juices
of my peaches. May you for ever taste me on
your tongue when you fall asleep next to him.
Speaker 4 (52:05):
Dear supervising producer Abuzaphar, the night had almost snowed and
it was may you supervised produced a podcast with me
all night long, and we fought and we produced, and
we fought.
Speaker 1 (52:19):
I got Mexican, My love.
Speaker 2 (52:22):
Dear mister executive producer, Christina Everett, I saw you were
in the ice cream stand nineteen ninety nine. You gave
me a scoop.
Speaker 1 (52:36):
Dear Engineer Derek Clements. The way you drove that car
down the pch made me fear for my life. It
made me fear I would never see my dog again.
And yet when the windows rolled down, I smelled that
beautiful sea foam air. I knew that you were the
(52:56):
one who could take me to ecstasy and take me again.
And then you took me right there on the side
of the road, and triple A never came, but I did.
Speaker 4 (53:12):
Dear mister Stephen Philip's horst.
Speaker 2 (53:16):
What is there even to say when one.
Speaker 5 (53:19):
Takes your soul, rips it out, recycles and drops it
off at beacons, over and over and over again, and
makes a theme song with a new shirt because you
think you can. I said you can, and I said,
leave your job as a lawyer, make music, make theme songs.
You shut me out, And then ten years later I
(53:42):
called you and your wife picked up. She said, he's
making a theme.
Speaker 1 (53:45):
Song right now for a podcast.
Speaker 2 (53:47):
Its prey book, Stephen Lily.
Speaker 1 (53:50):
Dear Prologue projects, or should I say, Daddy, you gave
birth to me? Or should I say you dropped your
seed off the sea that became who I am today.
Dear Daddy. I fucking love you, dear Daddy. I'm sorry
for everything you went through. I'm sorry for the war.
(54:10):
I'm sorry for the cries of other podcasts you still
hear ringing in your ears. Dear Daddy. All I wanted
was for you to love me, to tuck me in,
to make me dinner, to fuck me. Dear Daddy, I
miss you. I hope I made you proud, Dear Daddy.
(54:35):
I hope you still think i'm your pretty little girl.
I'll wait for you on the beach like I promise.
I don't care how cold it gets. I'll bring a parka,
I'll make a fire. I'll bring the tea in that
thermos that you always left me tea in because I said,
(54:56):
big girls bring tea to school for lunch, and you
let me drink that tea. And now I'm waiting for you,
dear Daddy. I still love you, Dear Daddy. I forgive you.
Celebrity book Club. Fucking crisis. Wind, I can't wait this
goddamn scrip. Where's Hudson. Oh he's on the jungle gym.
Speaker 2 (00:19):
Fine Mary?
Speaker 1 (00:23):
Oh h Hi, Claire, Hi, how are you? Oh God,
I'm good. You know, just just reading this new script
for a play. Probably I'm not gonna do it. I
don't think.
Speaker 2 (00:37):
I just you're so good on stage. I'm such an idiot.
I'm so sorry, Like, please hate me. I totally forgot
Hudson's gunned monkey stuffed animal.
Speaker 1 (00:49):
Oh yeah, he Sallykins.
Speaker 2 (00:51):
I'm so I know he loved I'm so.
Speaker 1 (00:52):
Love that monkey. He freaks out of you think get in.
And if I was a better mother, of course I
would have remember that. But I didn't. And it's fine,
and you're amazing, and I really appreciate it, Claire, you're.
Speaker 2 (01:00):
Doing so much. So I was just on my way
to actually go see Billy is directing Uncle Vanya Playwrights Horizons,
and I was just bringing some Magnolia cupcakes. Just the
crew is working anyway.
Speaker 1 (01:14):
Well, aren't you a saint?
Speaker 2 (01:16):
Oh please, I'm a mess.
Speaker 1 (01:18):
I did an Uncle Vanya once in modern dress in
San Francisco at the Bedford Forge on Market Street.
Speaker 2 (01:26):
I would love to do theater in San Francisco. I
mean your theater. It's it's so amazing. But sometimes to
just go to a city where it doesn't matter.
Speaker 1 (01:33):
Yeah. Yeah, you think you hit the nail on the
head there, Claire, But I keep telling you myself, none
of it fucking matters, right.
Speaker 2 (01:44):
I don't even know. I'm flying to New Orleans for
this movie tomorrow and.
Speaker 1 (01:49):
Or are you working with Mike Lee again?
Speaker 2 (01:53):
Yeah, and it's gonna be me, Tucci, LAURELINI Ruffalo, love
those guys. Yeah, I don't know if the script's not
that good though.
Speaker 1 (02:05):
Tell Mark I still have his beret. He'll know what
it means.
Speaker 2 (02:10):
I leave tomorrow, but if you need anything, I can
drop by later. I just just wanted Hutson to have
the guns.
Speaker 1 (02:19):
Get from there.
Speaker 2 (02:21):
Remember bananas. Okay, you watched this show. I'm sure you've
seen a million times and it's been driving me crazy.
But it's the banana songs in my head. Bananas, bananas.
Speaker 1 (02:33):
I've been trying to limit screen time, but it's a
fucking crap shoot.
Speaker 2 (02:36):
So it's impossible.
Speaker 1 (02:38):
I mean, yeah, thanks, Claire.
Speaker 2 (02:44):
Well, I'll probably see you next week. Yeah, yeah, the premiere. Okay,
happy thanksgiving.
Speaker 1 (02:54):
Me peace be with you. Who's that knocking at the door.
It's all your friends, you filthy whorse. Your husband's gone
and we've got books and a bottle of wine to kill.
Speaker 3 (03:08):
It's Hollywood, it's books, it's gossip.
Speaker 1 (03:11):
I'm sure it's memoir. It's Martini. Celebtly book Club Read
it while it's hot.
Speaker 2 (03:20):
Celevety Poop Club. Tell your secrets. We won't talk celebrity books.
Speaker 1 (03:26):
No boys are a loud Celety book Club say it
loud and pound Celevetly book Club.
Speaker 3 (03:34):
Buzz me in.
Speaker 2 (03:34):
I brought the queer foe. Hey Ben friend, Happy February,
Happy fed but you warry? Thank God? What twenty nine days?
Thirty days?
Speaker 1 (03:46):
I know? I'm sorry? Can every month be this short?
Speaker 2 (03:48):
Seriously?
Speaker 1 (03:49):
Sorry?
Speaker 2 (03:49):
Why is February the Thursday?
Speaker 1 (03:54):
Sorry? February is the Tuesday? I can't explain it. Donut mean.
Speaker 2 (03:59):
Sorry?
Speaker 1 (04:00):
Sorry. I actually heard that Jupiter is like in the
house this year and it's gonna be huge for everyone.
Speaker 2 (04:05):
Okay, did you hear this from I heard a rumor
you got a tarot reading from yourself.
Speaker 1 (04:09):
I had a tarot reading from a friend from like
a super experimental deck where the cards were hexagonal shaped.
Speaker 2 (04:17):
I feel like every year, here's my question, how many
Taro new Tarot decks come out.
Speaker 1 (04:21):
People are always being like, I'm so proud to launch
a new deck, and it's kind of like, okay, so
the concept is like, it's just different illustrations from like
a different illustrator. That would be the concept. Yeah, like
elevating this one was different. It also had this thing
where it was like one of the cards that got
was like go deeper, try reading still I Rise by
my Angela.
Speaker 2 (04:41):
It's like, hey, why don't you take your dumb ass.
Speaker 1 (04:44):
To high school?
Speaker 2 (04:44):
Yeah, and check out this author Maya Angela.
Speaker 1 (04:48):
Like one of the other one was just like check
out this song by John Lennon. I might help illustrate
this concept. And the concept is like the snake, which
is actually a good thing. Oh, because you know Taro
is so always just like the death card is actually good, right.
Speaker 2 (05:00):
And they're like, no, that actually means renewal and snakes the.
Speaker 1 (05:04):
Way they low key all mean renewal.
Speaker 2 (05:06):
No, I mean that's what I'm saying everything. It's every
time I even hear someone getting like a terrating at
a party, it's someone pulling a card being like, oh, yeah,
so this is the death magistress. But that actually means
on the twenty sixth, you're going to start a change.
Speaker 1 (05:24):
It's always just like transformation is actually super scary, but
it is the only constant in life.
Speaker 2 (05:29):
Change change, right, No, and change technically does happen every
single day except for I feel like you were that
sweater do our last recording?
Speaker 1 (05:39):
Okay, actually stop giving them a peek behind the curtain, bitch,
close the.
Speaker 2 (05:44):
Door, don't look.
Speaker 1 (05:47):
I just like the way this sweater sits on me.
It's a little shouldery.
Speaker 2 (05:51):
No, it's not very shouldery.
Speaker 1 (05:53):
Yeah, but it's shoulder shoulder.
Speaker 2 (05:56):
It's because the mock neck, and it's a kind of
ski sweater. And I think we're coming into such a
space with winter and winter sales that are so persistent,
and it's about saying, whatever happened to the uniform? James Dean,
You know what I mean? White T shirt, blue chains.
Speaker 1 (06:14):
Your clothes, Yes, wear your clothes, yes, hashtag wear your clothes.
Speaker 2 (06:18):
And then now I can fondly think back when I
get a tarot reading in twenty years and I'll be like, oh,
that was Stephen's recording. Sweater, yes, him and his recording sweater.
Speaker 1 (06:31):
Yes. And that was a constant without change. We change
every d We changed so much.
Speaker 2 (06:37):
Someone who goes through a lot of.
Speaker 1 (06:39):
Changes, someone who is a queen of transformation, you might say.
Speaker 2 (06:43):
But I actually never even really thought of her such
a queen.
Speaker 1 (06:46):
Oh the way, She's very constant to me. Yeah, she's
kind of just like always been like this squirky mama on.
Speaker 2 (06:53):
The verge mama.
Speaker 1 (06:55):
She's definitely on the verge of a nervous thirty nine,
like she's kind of been that forever.
Speaker 2 (07:00):
It's so thirty nine to forty four.
Speaker 1 (07:02):
Yeah, her.
Speaker 2 (07:04):
In the census, and we're not talking about the nineteen forties. No,
she is one of our most celebrated kind of I
think of her as an indie actress, but she's kind
of more theater to mainstream.
Speaker 1 (07:15):
She is good in mainstream, but I think made people
probably know her from her film and TV work, because.
Speaker 2 (07:21):
Because that's all we fucking care about, right television.
Speaker 1 (07:24):
Whatever happened to plays? And she is a gay icon.
I guess just by nature of being like indie and
like kind of God is why she's a gay icon.
Speaker 2 (07:32):
She's a gay icon because she is like a brunette
on the verge of a breakdown.
Speaker 1 (07:37):
It's just the kind of mental chaos of.
Speaker 2 (07:40):
Her mental chaos, and like a woman who sometimes plays
a mother who's like being kind of a naughty mother. Yeah,
she's a gay icon for gays who love like Angelica
movie theater.
Speaker 1 (07:52):
Yeah, which is a lot of.
Speaker 2 (07:53):
Gays, also a lot of not a lot of gays.
Speaker 1 (07:56):
I guess most gays are basic. But it's what I'm saying.
It's not just Indie because I do you feel like
basic a is like her? Probably just because you're on
weeds and that's about being a bad mom. Who are
you talking about?
Speaker 2 (08:05):
None other than Mary Mary Louise Parker and.
Speaker 1 (08:09):
Her book Dear Mister U.
Speaker 2 (08:12):
And it's a literary work.
Speaker 1 (08:13):
Yes, it's very literary. It's sort of like historical fiction
poetry almost.
Speaker 2 (08:19):
Yeah, it's part memoir.
Speaker 1 (08:21):
It's all letters, yeah, and it's letters to men that
have affected her throughout her life. They're mostly anonymous. You
never quite a lot of times you're not saying exactly
right this person is.
Speaker 2 (08:31):
Sometimes sometimes it's about her father, her grandfather, But besides those,
it's either exes, teachers, teachers, mentors, gay guys, or coworkers
or like guys she saw. The mean like through line
of this book is like chaota corniness.
Speaker 3 (08:50):
I will say.
Speaker 2 (08:51):
It's also like such an actor's book because it feels
like kind of like such an acting exercise like I
got in middle school. That's like, go sit at a cafe.
I want you to look at someone.
Speaker 1 (09:04):
Wait the way, I actually had that exercise in high school.
Speaker 2 (09:08):
No, I mean I had it also at high school.
It's like, look at someone, now write about them, and
it's like who are they? What makes them cry? But
what do they eat? It's very like what do they eat?
Speaker 1 (09:20):
Yeah? And then like you think you're like being like
so interesting my writing a letter to like the janitor
at a food court the weirdest in.
Speaker 2 (09:30):
The world, because I have a notebook and a pen
and I'm writing to this weird man and I'm the
girl that maybe noticed you for the first time.
Speaker 1 (09:39):
I'd like to if I could just read the first
page of this book, which is out of control and
really sets the tone for the kind of spoken word
journey that she takes you on, and all of the
horniness and the way in which she is constructing, reconstructing,
deconstructing masculinity as it has affected her throughout her career
in life. Dear mister, you manly nature who smells good
(10:01):
even when you don't. You wake up too slowly with
fuzzy vertical hair and a slightly lost look on your
face as though you are seven or seventy five. To you,
because you can notice a woman with a healthy chunk
of years or pounds on her and let out a
wolf whistle under your breath and mean it because you
thought either rug would be fine. Really it would. To
(10:23):
you who can fix my screen door, my attitude, and
open most jars. To you who codifies slams a puck,
builds a decent cabinet or the perfect sandwich. To you
who gave a twenty to the kid selling her sheey
bars and waited three hours for me a baggage claimbing
your flannel shirt. You sir, you took my order, my pulse,
my bullshit. To you boy grown up, the gentleman's soldier,
(10:45):
professor or caveman. To you and to that guy at
the concession stand, Thank you for lying on the hood
of that car and watching stars plummet. Thank you for
the tour of the elevator cage. The sound booth, the alley.
Thank you for the kaleidoscope, the get well tequila, the painting,
the truth. Thank you for the brown diamonds and blue points.
(11:08):
To you who carried me across the parking lot, to
the er and up the stairs. To you who shows
up every so often only to confuse and torment in,
you who stays in orbit to my left and steady
used it up for me. I won't forget that. To
the one who can't figure it out and never will.
And to the one who lost the remote, the dog,
or your way altogether. To you who I've tried to
(11:29):
understand so necessary and violent, you who transported comforted and devastated,
sometimes all at once. I still have what you said
was mine. I kept that along with the memories, despite
memories being a word I loathe for both its icky
tone and wistful graveyard implications. But there it is, and
(11:50):
here I am recounting them. It goes on. But I
just kind of.
Speaker 2 (11:57):
It's so no when I read that first page and
you're like, oh, okay, so we're gonna carry, We're really
gonna carry.
Speaker 1 (12:04):
And you're just seeing it just like all her just
being like, m I'm small, men are big your hands holding.
Speaker 2 (12:09):
Your hands hold big, like jars are being open.
Speaker 1 (12:13):
And like she means like sorry, I love it when
men are interested in a thing. Yeah, please give me
a tour of your weird recording studio.
Speaker 2 (12:21):
No, Like sometimes it's like you're like, let's get back
to like this type of straight girl.
Speaker 1 (12:26):
I think the same A girl is absolutely around.
Speaker 2 (12:29):
Oh no, I mean she's around. I just bet like
I feel like we haven't like been in the mind
of one like this in a while.
Speaker 1 (12:34):
I do feel like half of Twitter is like girls Twitter,
and sum.
Speaker 2 (12:38):
Stack is like this. But I guess I'm like this
type of girl who's like I'm in fishnets, I'm in
acting class. I came over to your apartment, like who
thrives on like fucking and fighting but loving your father
but literally noticing a weird man at a grocery store
and just like coming home and like seeing your boyfriend
(13:01):
and being like and he's like, what's wrong, and you're
just like nothing. But then you go in your room
and you like masturbate the thought of the grocery worker.
Speaker 1 (13:12):
Yeah, that's sort of me, except I'm just kind of
master being while my boyfriend is in the other room
and like the door's open and he's on his dell
and I'm just like checking email, and its kind of
I think.
Speaker 2 (13:22):
That's a little different. I remember like the romance of
the stranger and the worker. Yes, a little bit, and
it's like she is journal girl, right, it's journal girl.
It's if I may to kind of hear. She illustrates
like in the beginning setting up, how she's like theater girl,
surrounded by every other neighborhood freak. We were unleashed. Freedom
(13:46):
didn't fit yet. But if I wasn't entirely authentic, I
was making friends and chokes like I'd always known how
boys were following me. I wore opera gloves to breakfast
and held my turn on with safety pins. My friend
Ken and I did our one man shows for each other.
He in a straight jacket, me and a coffin, and
(14:08):
he'd saying, it's like, I'm sorry, opera class gloves to breakfast.
Speaker 1 (14:13):
It's very sorry, I'm eccentric. Sorry, I'm thin. It's also
thin girl.
Speaker 2 (14:17):
Oh, it's absolutely It's like I'm withering away. And I
went to an old store and I found tiny little
gloves and I put them on.
Speaker 1 (14:27):
Okay, so she's from South Carolina, and I do feel
like obviously, like she is in Southern Gothic, Southern Gothic,
she's Indy, but she's not like so Northeast Indy. She's
not so like emersaying like it is a little bit
more like Stripman freaky.
Speaker 2 (14:44):
Yeah, she's more gen x like freaky girl from South Carolina,
like suburbs whose daddy was in a war. Yeah, which
like takes a lot of gravitas in this book.
Speaker 1 (14:56):
Yeah.
Speaker 2 (14:56):
And I finally moves to her like six or walk
up in New York City, and she's a little more
small town girl that comes to New York less.
Speaker 1 (15:05):
Like I think what's interesting is obviously every one of
these girls like loves her daddy and is searching for
her daddy and everyone she meets and has like a
torture relationship with her distant father. What's good for the
book is that her dad was in the war, and
so it does lend it this gravitas where you're just like,
it's not because like all dads are like distant and
(15:26):
having this relationship where they're like you know, creating this
like impossible erotic within the daughter, but like you.
Speaker 2 (15:32):
Know, it's kind of perfect timing because it's like she
can be like.
Speaker 1 (15:35):
Ooh, yeah, you can come back from the world and
came back.
Speaker 2 (15:38):
From the war, and like she has this line where
she's like there was Champagne girls, and then you came
back and the fanfare ended. Yeah, and we move into
the suburbia.
Speaker 1 (15:50):
In the seventies.
Speaker 2 (15:51):
By the way, what is your personal relationship to the war? No,
to Mar's partner.
Speaker 1 (15:57):
I did watch Weeds in high school, which I like, I.
Speaker 2 (16:00):
Don't know if it came before Nurse Jackie, but it
really set off the like premium cable show about a
woman who has a has.
Speaker 1 (16:12):
It all figured out about the dark side of suburbia.
Speaker 2 (16:14):
Yeah, Nurse Jackie.
Speaker 1 (16:16):
I watched Anti Here, I watched Six Feet Under, and
I watched Weeds, and like, Weeds is more of a comedy,
and I do remember thinking that the opening sequence, I
was like, fuck, yeah, that's so accurate. I like everyone
in the suburbs has bread to be the same man,
because like, I really did grow up in the suburbs periods.
I'm not in the like insane cookie cutterway of like
(16:37):
you know, Western like southern California suburbs or like most
country like.
Speaker 2 (16:41):
People have been wondering if you really grew up in
the suburbs, but.
Speaker 1 (16:44):
You grew up in the city, like you are like
a city You're.
Speaker 2 (16:46):
Literally a city girl. You're like a suburb girl. And
like your mom made you lunch. Me, I had to
walk to a really cool underground Japanese market below the gap, okay,
and that's what in for me, Like I was discovering
new pizza places. You were out there having fucking tomatoes
soups that mommy made you insane.
Speaker 1 (17:09):
They did have me bringing soup to school like in
a container.
Speaker 2 (17:12):
I was more just shocked once when like your mom
asked what you wanted for lunch.
Speaker 1 (17:15):
And I was like, no, oh fuck, because your mom
was so just like I have dandelion greens and granola
that I dried.
Speaker 2 (17:27):
It's self dried granola.
Speaker 1 (17:30):
Yeah. Because the thing is Cambridge were more like bringing
raisins into the movie theater, which was like horrifying.
Speaker 2 (17:46):
My relationship with Mary Louise was kind of mostly Fried
Green Tomatoes where she plays Southern, which is one of
the most heartbreaking lesbian iconic films of all time, movie
about cancer. Also, she dies of cancer her and she's
like wilting away as like the femme and she dies
of cancer and her like Butch is like holding her hand,
(18:08):
like watching her die, and it's like so sad.
Speaker 1 (18:10):
Wow.
Speaker 2 (18:11):
Have you never seen it?
Speaker 1 (18:12):
Maybe I have. It's not ringing about.
Speaker 2 (18:14):
It, it's about too She has an abusive husband who
goes missing wink. It's very the Dixie Chick song. Earl
had to die, yes, Okay, and then her and her
best friend open up a cafe and it's called Fried
Green Tomatoes and they're quote unquote best friends.
Speaker 1 (18:29):
Wow. So it's an iconic lesbian film, like If these
Balls could Talk.
Speaker 2 (18:33):
Yeah, but it never like shows them hooking up because
they didn't do that in the nineties. And it's like
Kathy Bates is like her granddaughter and she's like discovering stuff.
Speaker 1 (18:41):
Oh, and it's about like black flashbacks. Yeah, that's cool
and beautiful. So I can see why she would have
had an impact on you for that film, right.
Speaker 2 (18:48):
So I feel like it's like you were connected through
the suburbia of like, oh, I see all these moms, yeah,
and they seem like it's okay, but I know it's not.
Speaker 1 (18:55):
And I wasn't even into weed, as you know, in
high school. But I guess I just like the kind
of like entrepreneurial aspect of that show and about how
she is like a budding she boss.
Speaker 2 (19:04):
You were like, we'd bad she boss good.
Speaker 1 (19:07):
Yes, It's like I hope she channels these geo aspirations
into something a little bit more legitimate.
Speaker 2 (19:13):
I think what I was talking about, like her heterosexuality.
I find the all like because everyone now is like bye,
and I'm like, I guess this was like not shocking
to me, but like a true testament of this, like
jen X dark girl heterosexuality. That's like, this.
Speaker 1 (19:28):
Reminds me of backlist sex. Yeah. Who we love who
is a writer and poet in the San Francisco area.
Speaker 2 (19:33):
Literally our favorite writer, And I wonder it's like the
way she writes is this like iconic spoken word way
of writing, which is always just saying you did this,
you did this, you did this.
Speaker 1 (19:44):
Yeah, the parallel structure, right, it was parallel boots.
Speaker 2 (19:48):
Yeah, And to write this whole book that's like, okay,
let's just I think we need to list the men
that she talks about. She goes from like high school boyfriends.
Then it's like her juggling acting teacher who wanted to
fail her, which is like the funniest.
Speaker 1 (20:04):
Interesting even though I made myself everything you wanted me
to be. And he was like, you're using your sexuality
too much in juggling.
Speaker 2 (20:11):
Class, which is like that's such a type of girl
who like in the class like thinks she is like
absolutely slaying the house down boots. And then like the
teacher breaks her and he's like you're bad and I'm
gonna fail you, and she goes in his class and
she's like, you don't fucking get me.
Speaker 1 (20:32):
Okay. Then there's this local Yaqui Indian boy.
Speaker 2 (20:37):
Oh yeah, well.
Speaker 1 (20:38):
I guess it's like on is it like so local
reservation in South Carolina?
Speaker 2 (20:42):
Yeah, that she's like visiting and that is very like
Anita Franco to me.
Speaker 1 (20:46):
Okay, but this part to me was so like Rose McGowan.
She's talking about like just like growing up in this neighborhood.
She's in her teens and she's like looking at this
boy again, it's like it's not clear if I feel
like he's in a mouth gum of like boys that
are her age.
Speaker 2 (21:02):
Yes, Like some of these are very like this is
about a man and this is Some of them are
like this is a collection.
Speaker 1 (21:07):
I was the only white person for Miles and Blanca.
I was pale ass notebook paper without the lines.
Speaker 2 (21:15):
It's extremely like a white girl like a night which
also we would love like a deaf comedy jam white
girl poetry. He's like, yeah, I'm gonna do an accent.
Yeah for this entire blank just mean like I was
a Blanca. We were looking for a dope and cookaine
on the streets and You're like, what is going on here?
Speaker 1 (21:39):
Because I feel like we said I was the only
white girl from Miles. She just means like on this
stretch of the like bus ride that she's.
Speaker 2 (21:44):
On, Yes, she's the only Blanca girl.
Speaker 1 (21:47):
Yeah.
Speaker 2 (21:48):
And she's like, first the houses are nice, then the
yards are piled with laundry and broken down bicycles, and
you're like, oh, oh wow, Mary Louise is really painting
a portrait of him. Yeah, she's race and class in
America an industrial decline in the Southeast. I also was
(22:11):
trying to figure out on this, Like so it's like
she was married to Billy Crudup and they were together
for seven years, then once she was pregnant, he left.
Speaker 1 (22:19):
Her for Claire Danes, which you guys may remember from
the Cold Open at this very episode.
Speaker 2 (22:23):
Which reference and then it's like, I feel like he
was with Claire Danes for like.
Speaker 1 (22:26):
Eight years and now he's not with.
Speaker 2 (22:28):
Her, and now he's with Naomi Watts.
Speaker 1 (22:31):
Okay, that's so crazy. It's like because they're all so similar.
Speaker 2 (22:35):
I was like, he's going from one shaking woman to
the next day.
Speaker 1 (22:39):
And they're all so West Village in peak coach.
Speaker 2 (22:43):
And just like actresses who love film but their passion
is theater.
Speaker 1 (22:47):
Okay, when she talks about the dog like that was
so that Naomi Wats movie The Friend that we just saw.
Speaker 2 (22:53):
I know, and I think Billy Croudup was there, yes,
but so is Lee Schreiber. It was like X and
Current were there.
Speaker 1 (23:00):
Leaf Drivers should just now Dave Mary Louis Parker and
like kind of start the cycle all over again.
Speaker 2 (23:05):
Yeah, I'd make it like a full circle.
Speaker 1 (23:07):
I moved into your cage that night. There was plenty
of floor spaces through my routines, which delighted you. I
discovered I had a gift for making you laugh. Sometimes
the antics worked on the street, and that was the best.
You'd throw your head beck in hysteria, Pully close kissing
my forehead. Oh wait, this was about a boyfriend who
is like three headed.
Speaker 2 (23:25):
Yeah, and it's like this monster of all boyfriends, right right, right,
right right. But then okay, so I would say, like
when it gets to real passion, she's talking about this
boyfriend who she calls Popeye and oh.
Speaker 1 (23:37):
Wait, this was the pussy gauntlets.
Speaker 2 (23:39):
Yeah, and it's like this guy who comes over for
a fuck fest. As she calls it. I mean, this
seems crazy and it's insane, and he's like.
Speaker 1 (23:47):
Read it, got out the towel.
Speaker 2 (23:49):
Okay, are you ready for this?
Speaker 1 (23:52):
So he is handl it?
Speaker 2 (23:55):
Can I handle it? Sorry, I'm trembling. The floor is
soaked at I heart. Dear Papa, you bolted from work
that morning and took a cab sixty blocks for a
fuck our lights out festival. You busted and took me
from dreams by throwing your backpack on my floor and
(24:16):
then throwing down the pussy gauntlet. I roused and rallied
and smiled, and you tossed me across the bed. You
could have had me fine in the direction I was facing,
but it was a morning that needed a bodily, happily
pitched across a duvet with a guttural mm A morning
that begged for bodice ripping and hair pulling and whispering
(24:39):
and taking off and taking me away. Okay, I want
to skip over to if you want to take it
later on in fifty eight. You want to skip over, no, no,
no to fifty eight to get the Coca cola part.
Speaker 1 (24:50):
You don't want to read. When I was waking the
homeless on the streets with my Oh Gods, you slammed
into neutral at the end of the inn part of
the next in and out, you pulled fully out of
me and backed off the bed like I was a
parking space you were deciding against. After several attempts to nail.
Speaker 2 (25:10):
Yeah, that was wrote. That is an Audio de Franco lyric.
It reminds me of the lyric My pussy is like
a tractor and you're the tractor pull.
Speaker 1 (25:25):
So what's the like corn in that scenario?
Speaker 2 (25:29):
I guess his dick is the corn and the tractor poll.
Speaker 1 (25:33):
Okay, sounds violent.
Speaker 2 (25:37):
Mangled, Okay. Later on, at which point I heard what
you opening my fridge looking for something in a drawer
Emodium Brian song on VHS. But then I heard a
pop and a fizz. You appeared again, Renaissance fair stud
with your cock in one hand, not because it needed reminders,
(25:59):
because you wanted in that hand, while the other hand
gripped a bottle of coke classic, the old school kind,
which doesn't it taste so much better?
Speaker 1 (26:12):
Like that? Of course she's just being like retro.
Speaker 2 (26:15):
She's a little bit like, sorry, why does cocon a
bottle taste so much?
Speaker 1 (26:19):
And I'm imagining that it is like this kind of
like like an old fridge that's like a little bit
curved on the side, you know what I mean.
Speaker 2 (26:25):
This book takes place in the East Village, yes, and
it's white and it's dirty, but it's a big metal Well.
Speaker 1 (26:30):
Actually that's kind of true because this is the most
East Village seen and like her stalking the fridge with
like classic coke, even though I could imagine like East
murray Hill, Well, I was just gonna say, I could
imagine West Village girls like today having a specialty fridge
that's just old coke. It's so well, yes, that's very
like from tom yeh, can't you mention like liv Tyler
(26:53):
or just like what's his name? The faggot Neil Patrick Harris.
Speaker 2 (26:58):
Oh, and he has been like this is our retro
diet coke. Reading this book, I was like, this is
such a woman. I would clean for twice where.
Speaker 1 (27:13):
We're going to go with someone else.
Speaker 2 (27:14):
Yeah, she'd be like the first time, like I would
show up and she would probably be like so frazzled
and be West Village and she would thank me so much,
and she'd be like, oh my god, it's a mess
in here, and it wouldn't be that much of a mess,
and she'd be like, can you please do with the
inside of the fridge, And then I would and she'd
come back and she'd give me forty dollars and be like,
you have to come back. You saved my life, and
(27:36):
like she would confess something to me that she wished
she could confess to her friends, but it's more fun
to confess it to her weird maid. Yeah, And then
I would come back the next time that I.
Speaker 1 (27:48):
Would seize you because she's weird girl, and.
Speaker 2 (27:50):
She'd be like, oh wait, we're both weird girls. And
then I would kind of maybe come back the second time,
but I would arrange her olaplex the wrong way in
the shower and she would be like, just next time,
can you not put things back in the wrong way?
And then I'd come back the third time and it
would just be like she wouldn't be there because the
(28:11):
second time you came in and she was just like, oh, like,
do you want a tea or something.
Speaker 1 (28:17):
She's like trying to chill.
Speaker 2 (28:18):
Down, chill down, just like I don't know what I have,
but I have tea.
Speaker 1 (28:24):
She is this mannic Pixie dream gen X. The part
where she's talking about this like kind of like guy
who has a van, and the whole chapter is to
this guy who has a van who's like random, and
she says, who like invented burning Man? She goes, you
took anyone's idea of modern life and set it on fire.
(28:45):
Decades before anyone dreamed up burning Man. You didn't need
to rent an RV with Wi Fi and talk about
whole foods to drive somewhere and let the mad men
into your third eye. You found it and let it
all in and out again and had it going on.
Speaker 2 (29:00):
M No, that chapter to me was the most like
m This one definitely isn't true where she's like talking
about her like trans man coworker.
Speaker 1 (29:09):
Wait, is this in that same chapter? Yeah, in Dear Blue.
Speaker 2 (29:12):
In Dear Blue one second, I have the page forty one.
This to me is very like a straight girl. That's
like I would totally date you if I was gay.
Some days, joining me at the scale was a sweet
and sullen transgender boy named Lux who wasn't but much
better than I was. We got in trouble for throwing
a block of guda up at the ceiling fan to
(29:35):
see if it had come down in chunks, so they
separated us, fucking wreaking havoc of our coalk. They had
one of us bag well, the other one stock dry,
which meant standing in the refrigerator and plenishing all the
yogurt and keefer and freezing our asses off. I found
the scale confusing. Was never good at mad a gun.
Speaker 1 (29:55):
That's just like, sorry, I'm a girl, I'm number stupid.
Speaker 2 (30:01):
I mean, it definitely reminded me when I worked at
Dimes Market and my friend who was my manager, was like,
you were ringing up things that we hadn't sold in years.
Speaker 1 (30:14):
You were like so bad at the like pos system.
Speaker 2 (30:17):
Yeah, and like when something like if it was let's
say a bulk item didn't show up, I would just
be like, well, let's just choose something else, like who cares?
Like period dates, whatever, I'll choose like rab B Marrigolds,
like who cares?
Speaker 1 (30:31):
Yeah, no reason to alert the authorities every time the
beat are dimes police. Yeah, it's just fucking buttons on
a screen.
Speaker 2 (30:40):
As a fun tipped up No, I'm not meant for
the market.
Speaker 1 (30:46):
Okay. When she goes, Nalie and I would combine all
our wash to save money, and we'd dance on top
of the machines with some mild flashing of body pots
to passos buy if we'd drink a few bews.
Speaker 2 (30:57):
No sorry, literally indie movie were girls laundry.
Speaker 1 (31:01):
And dance on top of machines and like accidentally flash
a tit at a creepy old man in the street.
Yeah that's right, take a picture at hey.
Speaker 2 (31:08):
Look at it. You want to suck it. She's just
like my nipple freak, No, come in. And then she
takes it a little too far and her friend is
actually like sketched, and then she like does look up
with the guy and she's like, what are you doing this?
Speaker 1 (31:25):
It is weird. So then she does like moves.
Speaker 2 (31:30):
Into gigas fabulous. It's like childhood daddy wore vans, bad
jobs cock and then it's like, dear mister miss.
Speaker 1 (31:42):
Thing, Miss Thing, she's so just like meeting miss Jay
like on the street by Chateau marmont Uh, dear miss girl.
We bombed in about five minutes over lemonade and fries
to the Chateau marmont Our shared devotion to skinningcare was
only the cherry, just like her, literally talking about wizzredzer
once no, and she's.
Speaker 2 (32:01):
Okay, I'm sorry, you're my sister.
Speaker 1 (32:05):
Well he miss p town ha. Miss can't find me
a place to park in front of the sunset, Marquee,
miss woman, you always greet me with the bright face on,
even when one of us is a tad suicidal. We
managed to laugh about something.
Speaker 2 (32:18):
To hear a girl discover that there are gay guys.
It's really beautiful.
Speaker 1 (32:23):
But here's the thing is, it's like she's not actually
a hag. She's like too chaotic and thin to be
a real hag, so she doesn't have the like sturdiness
to support gays and like have that like repository of memories.
Speaker 2 (32:39):
Well, which is actually actually kind of so glad you
said that. I think we just hit up why she's
actually a gay icon. Yes, it's because she's not a hag. Okay,
well sorry, we just self robes. It's like gay guys
love her, but it's like she's not being like a
(32:59):
stride is. And you know, it's like she's this like
dark girl that they can be like, oh girl, yeah.
Speaker 1 (33:07):
No, and she's flouncy and freaky.
Speaker 2 (33:09):
I will say something freak with them, but like she
doesn't need to depend on them for her only moisturizer conversation.
Speaker 1 (33:15):
No, she doesn't need gay guy. It's but like she
obviously preaches them and has seen so many dibades and
loves that.
Speaker 2 (33:21):
Yes, and she has like a gay mentor, like who's
being like, oh, honey, I had so many boyfriends you
would have loved And she's been like, oh, I'm sure
I would have loved your dead gay friends. Okay. Did
you think it's in her chapter Emergency Contact where she
talks about this person who owns like clearly a fabulous store,
(33:45):
comes and like helps her in the hospital. But I
couldn't tell if it was like a fabulous old woman
Patricia Field style or if it was a gay guy.
I think because basically, like the story is like she's
in the hospital and it's like it's probably because she's
like dehydrated and like has kidney stones or like some
just like overworked, like girl proable.
Speaker 1 (34:06):
You have on light flannel trousers and a perfect white
shirt even for a fashion designer. You look sharp.
Speaker 2 (34:13):
Sounds gay guy that also could be old woman in.
Speaker 1 (34:17):
Like perfect Yeah. Is it like Betsy Johnson or like
Lazaro Hernandez because.
Speaker 2 (34:22):
She's like, I came into your store when I was
fucking nothing and you still dressed me. She's like I
were spending woman who's like smoking a cigarette being like
have you heard of Elsa's ship Arelly?
Speaker 1 (34:35):
Yeah, Like I think it's just like Tory Burn it's
Kate Spade, honestly, maybe it like is Kate Spade? Yeah,
because she is kind of like girly. Her style is
very like little like pillbox.
Speaker 2 (34:50):
Dressed, like yeah, it's like big fur coat that she's
like drowning.
Speaker 1 (34:55):
Yeah, which is kind of Kate's Pade. She's very Kate
Spape back to me.
Speaker 2 (34:58):
And what's nice about this This is kind of fantasy
fiction for us because it makes the reader, yes, yes,
who she's talking about.
Speaker 1 (35:05):
I love that ambiguity.
Speaker 2 (35:06):
And being like, is this about your next husband?
Speaker 1 (35:10):
Yeah, like the like rocker that she is obsessed with
who like plays harmonica, And it's not Bob Dylan, and
it's kind of unclear who it is, and like she's like,
you weren't the Beatles, Like you were so cool and
I can't believe that one time you let me on
stage like near your bongos, And I'm like, is it
just like Mick Jagger or is it someone like way
less famous, or is it.
Speaker 2 (35:30):
Just so like the bassist of Blues Traveler, Yeah, or
like Adam Duritz.
Speaker 1 (35:36):
I don't think it's Adam. I think it's someone from
before him, Eric Clapton. Maybe it's Eric Clampton.
Speaker 2 (35:41):
He sounds mouthy though, because there's this part where like
they're in a fight. She's in a play and he's
reading the bad review to her, because years after that,
on the day the play I was doing was met
with a widespread hatred. You chased me around your hotel
room in a robe, reading a scathing review a loud
while I held my hands over my ears. Let's demystify it,
(36:03):
you shouted, it's better to hear it. This guy hates
you so much. It's almost funny. Later, while I sat
crying on the couch, you recounted the meanest attacks on
your own work just to make me feel better. I
almost got married to someone in your living room, and
then I did it a few days after that. It's like, yeah,
an older man where it's like she would get married
(36:24):
to someone in his living room.
Speaker 1 (36:25):
But has also like fucked him.
Speaker 2 (36:28):
Because I heard the rumor that the Chill Crow song
my favorite.
Speaker 1 (36:33):
Mistake is about Eric Clampton. Yeah, okay, Yeah, she's a
different vibe than Mary Louise Parker for sure, if you're Eric,
but I could.
Speaker 2 (36:41):
I mean, he's a man naning. It's not like they're
so different that he's like yeah, but it's like Sheryl's
western hippie chick and Mary Louise's theater indie journal girl.
Speaker 1 (36:53):
Yeah, but they're both like Southern Gothic in their own way.
Speaker 2 (36:56):
Yes, with wavy hair.
Speaker 1 (37:00):
Okay. I want to talk about the last chapter, which
was so devastating. So this book, obviously it's all about men,
and kind of the undercurrent is like who is the
you know, the the first and last, your last man
in your life, the primordial man, the er man of
every dark girl's life as her father, and it's about
her father dying and how he loved oysters and she
(37:21):
like gets oysters for him, like right before he dies,
and so the letter is to this oyster picker who
got the oysters. And the cover of the book is
actually a photo of an oyster with dear mister ew
and Corey were font on top of the oyster. And
when I saw that, I was like, oh, it must
be like about desire and neuroticism, because it's an aphrodisiac.
But it's actually about this moment about her dad.
Speaker 2 (37:41):
Okay, but wouldn't you say those two are utterly connected
up solutly the erotic of the imprint. It's the first
man you see love someone or not love someone.
Speaker 1 (37:54):
Yeah, I mean the death of the father is in
many ways like the most anything that can happen to you,
because it.
Speaker 2 (38:02):
Was the horniest day of my life. I'll tell you
that seeing his body under a painting of the Revolutionary War,
a conquered funeral home soaked we have to laugh about.
(38:22):
So I cried on the train. And of course I
finished this book a much earlier, but I was reading
the last chapter on the train over over absolutely absolutely,
And I mean it's just so inch in the way
she know, it's like the way we like idolize daddy,
and you know, it's like she sees all these things
of like how you know, the war and how he
would buy her mom, you know, Valentine's Day presence months
(38:43):
before Valentine's Day, but then later on it's like the
pain of this man who like couldn't provide the way
he wanted to.
Speaker 1 (38:51):
Yeah, and just all the little like you know, indignities
of that moment and the dad kind of trying to
hold it together and being sweet and like all the
little things he says, as you know, he's trying to
be grateful to his daughters, and every little moment is
just so heartbreaking. And she is quite poetic about it.
She talks about the first time the sister has to
refer to the done in the past tense. She tried
to complete a sentence that began with he was, but
(39:12):
could not and didn't have to. Her inability to finish
that sentence and the flush that filled her face as
she looked for words worthy of him, were enough to
finish it. For the men who understood. One of them
reached touch her arm My brother shook their hands after
they looked at his picture, whispering acknowledgments to us that
they would remember his face and thanking us for letting
them see it. They were full of grace. She's like
talking about the pall bearers.
Speaker 2 (39:34):
It's like ugh, but then it was so sad right
before that, when the dad gets carried away and her
sister reaches for her and she pushes her sister away.
Speaker 1 (39:42):
Yeah, well there's this sisterly thing because she also says like, yeah,
my sister's the pretty one, which like the sisterly rivalries me,
I mean obviously like siblings are always fighting one apparent dies. Yes,
But she's also so actress in the fact that she's
like pretending like she thinks her sister's the pretty one,
like to be like humble, but like I'm sure and
at some deep levels she actually thinks that she's the
pretty one.
Speaker 2 (40:02):
Absolutely. I feel like it is very like an actress
thing to be so like I don't know, I was
the one who got sees and wasn't pretty at all.
I mean, my sister though she's beautiful, and she's referencing
like her sister who's like a social worker who lives
in like Charleston. She's like, she's so.
Speaker 1 (40:22):
Beautiful, but of course he down. She think you're like,
thank god, I'm not that boring bitch.
Speaker 2 (40:27):
Stuck in Charleston. Finally, Insurance claims her smile was so
beautiful though, and then right before that chapter is a
letter to her daughter's future boyfriend.
Speaker 1 (40:40):
Oh, I mean she's being psycho in that right.
Speaker 2 (40:43):
Go Boots, where she's almost like horny for the daughter's
future boyfriend.
Speaker 1 (40:49):
Yeah, it's too much, Okay. The ending actually really reminded
me of Nora Efron's book at the very end when
she's talking about buying bathoil and like this kind of
meant to art and pleasure. At the very end is
you know, I think quite apropos for an artist, and
it's clarifying what really matters. I will tell you now,
(41:11):
Oyster Picker. The night after he had your oysters, he
stopped speaking. Everyone went to sleep except me, and I
sat next to him holding his hand. The last thing
he said to me was squeeze my hand, please. I
held it into the last breath flew out, and he
went wherever it was he'd found, where he wouldn't be
scared or lonely for us, where he would continue on
with the things you and I don't know about yet. Then,
(41:32):
because he was the wizard of all fathers, he asked
me what I was doing, like that should have mattered.
I said, well, okay, I'm saying in this really awesome bookstore.
You'd love it, I said. He gave a sigh of
longing and said, oh my, tell me, do they have
anything interesting? I said, yeah, tons, I'll send you a
book from here. How does that sound? He said, that's wonderful,
that's just tremendous. Thank you, Sweetie. Told him I was
sending him some candy too, and he thanked me, said
he'd be on the lookout for And then he said,
(41:53):
tell me, what are you writing now? You work on anything? Said, oh, Daddy,
just little things I don't know. And he said, okay,
well listen to me right, keep writing. Promise me that
you will. And that's the book Stunning right.
Speaker 2 (42:06):
Where Louise and she kept writing little things.
Speaker 1 (42:09):
Little things, And I turned into this book. It's like
it's a beautiful tribute.
Speaker 2 (42:12):
I wonder what her sister thinks of this last paragraph. Hmmm,
because it's so like Doddy held onto.
Speaker 1 (42:18):
My hand right, Daddy held in my hand. Daddy told
me to write, and look, I wrote this beautiful book.
And what did you do?
Speaker 2 (42:25):
What did you do? You did so much?
Speaker 1 (42:27):
Yeah, you did so much. You're a nursing administrator.
Speaker 2 (42:33):
But remind me because then in this chapter before she
makes it like all about like brothers and sisters. So
I found it a beautiful actually owed to siblings, even
though as corny as it is. And like the chapter
before where she's been like, promise me to like fight
with my daughter and make her almost leave you, but
(42:53):
then treat her like the queen she.
Speaker 1 (42:54):
And also promised him make my daughter jealous of your
relationship with her uncles.
Speaker 2 (43:00):
Was like, what the hell? It was like it was like,
be so fucking close to her with her brother and
her uncles.
Speaker 1 (43:08):
She actually sketched out.
Speaker 2 (43:10):
Except she's so happy because you have such a close
relationship with them and invite her brother over whenever.
Speaker 1 (43:16):
Yeah, And I was.
Speaker 2 (43:17):
Like, Okay, that is cool because.
Speaker 1 (43:19):
It's just like she doesn't want the sibling.
Speaker 2 (43:22):
Your siblings are your teammates in life.
Speaker 1 (43:25):
Yes, no, and blood is the tie that binds and
they are still there few no.
Speaker 2 (43:30):
Matter what to quote My favorite mean page hard core Italians.
If you folk my family, I grab a shovele.
Speaker 1 (43:41):
That's so poignant. Thank you.
Speaker 3 (43:43):
I know, dear mister s how do live?
Speaker 2 (43:55):
What does she wear?
Speaker 1 (43:56):
What does she eat?
Speaker 2 (43:57):
Does she eat like not much honey, just picking I
mean oysters, carrot salad. Yeah, she's very Russian.
Speaker 1 (44:06):
Doing like meals for the week on Sunday.
Speaker 3 (44:09):
No.
Speaker 2 (44:10):
I think she sometimes is like I'm gonna roast a
chicken every Sunday.
Speaker 1 (44:14):
And it's a little chaotic, and she's not putting until nine.
Speaker 2 (44:17):
She's me Yeah, she's eating at midnight and then she
has no way. I think she likes pickled beets. I
think she loves like a beat goat cheese salad.
Speaker 1 (44:27):
Her pists sounds purple as fuck.
Speaker 2 (44:31):
And I think she does do like a beautiful roast chicken.
I don't think she's doing like four salmon's and like
chicken meatballs and it's like no. But I think she
loves Greek food.
Speaker 1 (44:42):
Is she going out a lot? Is so any cohen
and going away really in? Or is she more like
ordering sushi after she really gets to make dinner.
Speaker 2 (44:50):
I guess like with the kids, she probably was actually
making them like so many like healthy salmon.
Speaker 1 (44:55):
Wraps and they're taking salmon to school.
Speaker 2 (44:58):
No, I mean at dinner, like but the Annie a
stalk for the kids.
Speaker 1 (45:02):
Maybe she's more like johenn Ackson, you think. And she
is just making peel off and she's making rice and.
Speaker 2 (45:07):
Like and it's very near East's.
Speaker 1 (45:09):
Near East, like couscous in near East Surfries.
Speaker 2 (45:12):
Yeah, for sure, what.
Speaker 1 (45:13):
If she wears we discussed she's like girly, so I
feel like she likes kind of fifty silhouettes and like
poodle skirts and like poodle skirts and like little handbags.
Speaker 2 (45:24):
I think it's like fifties sixties, like it evokes Jackie Oh,
and it's like little slips and like beautiful, more like
evoking the twenties, these like silk dresses and like little bags.
I don't know if it's going full poodle skirt, I
mean that like puff out.
Speaker 1 (45:40):
I don't actually know what a poodleskirt means. I feel
like it's a silk skirt that is like structured, almost
like a peplum.
Speaker 2 (45:46):
Poodle skirts were like tight on top and then very
structured went out and had like cleats. Yeah, and has
then embroidered poodles on them.
Speaker 1 (45:56):
Sure, they don't have to.
Speaker 2 (45:58):
I think it's more like ninety slip.
Speaker 1 (46:00):
And I don't think she's talking. I don't think she's so.
I feel like she's more in these fifty silhouettes that
are like more Ballerina where the skirt's going out.
Speaker 2 (46:07):
I disagree, but we can kind of fact check that
on when we go through her like red carpet vibes.
I also think it's more she has like so many
beautiful bags and like beautiful bracelets, and like such nice
cashmere sweaters, like huge Kashmir sweaters.
Speaker 1 (46:23):
I just got some piping hot tea from someone who
is friends with someone who was her assistant, okay, and
said she's an odd bird, but very sweet and pretty
devoted to her kids.
Speaker 2 (46:38):
Okay, so she is making like so much Peeloff and
Sam And.
Speaker 1 (46:42):
That's keelof to me, that comment I just received, screams Peelof.
Speaker 2 (46:47):
She loves the kids, absolutely, Yeah, but when the Knights,
when Claire has them, oh hell break slips. Yeah, it's
Waverley and Mama. But I also see her like being
like I'm gonna cook for myself alone, and it's a
beautiful gloss of pino noir.
Speaker 1 (47:03):
Yeah, for sure, glass of wine, and then her friend's
being just like, Okay, you need to go with this guy.
He's a playwright. I know, no more playwrights, you told me.
Speaker 2 (47:11):
But I think I'm just focusing on me and my writing. Yeah,
how does she live now? I think it is Even
though this book is so East Village, I feel like
she is so West Villinan.
Speaker 1 (47:20):
She's a funky West Village. She's so like, so this
is a lunchbox that I got in Morocco. I know,
just bear with me, hold on. And then she's like, uh,
these are these tiny little German figurines that they used
to make in the c and like people think they're creepy.
I don't know. I think they're beautiful. I'm weird.
Speaker 2 (47:38):
Yeah, it's a little Dutch paintings of like a weird baby.
Speaker 1 (47:41):
Yeah. I mean it's pretty Carrie Fisher.
Speaker 2 (47:43):
Yeah, but not as like, not as novelty.
Speaker 1 (47:46):
Yeah, a little less like comedic.
Speaker 2 (47:48):
I think there's like some gorgeous like velvet she lounges
around where she's like flopping down to rediscuss.
Speaker 1 (47:56):
That that gets into that she's just more girly, and
so I think that she has this whole thing where
she's like, sorry, it's my little corner of Paris. Paris.
Speaker 2 (48:02):
Yes, vanity table, old mirrors.
Speaker 1 (48:05):
Yes, mother of Peril.
Speaker 2 (48:07):
The kitchen is dark tones. I almost think it's a
Greens and Navies.
Speaker 1 (48:10):
And I think there's like some like colored glass doorknobs.
Speaker 2 (48:14):
Hard to find a TV in that house.
Speaker 1 (48:16):
But when you find it.
Speaker 2 (48:17):
It's there, and it's cozy as fuck.
Speaker 1 (48:19):
Yes, it's surrounded like books and fabric.
Speaker 2 (48:21):
And I think the bed is high in.
Speaker 1 (48:23):
A princess way. Yes, And there's like a little Villavet
footstool to get onto the bed.
Speaker 2 (48:27):
Because so many like men when they come over, they're
like tossing her around, and the bed needs to be
sturdy for like a sixty four year old rocker to
fuck her.
Speaker 1 (48:36):
In the only way we could have it so wrong.
And she's actually so like coastal California post weeds, and
like the bed is low, it's all beige. I'm just
gonna put that out there and say, maybe that's also true,
but I think it's the first and.
Speaker 2 (48:47):
It's a rental. Both have probably happened in her life.
She's lived a lot of lifetimes. Yes, who are you
in the book? I think you you're NASA.
Speaker 1 (48:59):
Thank you, NASA, Thank you NASA.
Speaker 2 (49:01):
I didn't believe in you, but now I do.
Speaker 1 (49:03):
I definitely feel like, I mean, I identify with her
and the Popeye see just being like, fuck this howt
guy is getting a coke turned on. I'm so turned
on by these like little moments of like casual masculinity
in the midst of my deflowering it.
Speaker 2 (49:18):
Also, I mean it feels very ute just in general,
like write poetry to like someone random, someone random, Like Okay,
the chapter where we didn't even talk about where she
meets this guy that's like very put together and is
dying and they have this connection and she's like, we're
already soul mates. I knew it in two minutes. Yeah,
it feels kind of you.
Speaker 1 (49:38):
Yeah, Okay, I do feel like you're kind of like
in that scene with the ex boyfriend when they're kind
of fighting and he's just been like I want Mexican
and then we going bacon like yes, very you.
Speaker 2 (49:51):
Yeah, well, because that's also very mean to like I
feel like be in a fight with a lover and
not realize it's because I'm actually starving.
Speaker 1 (49:58):
Yes, yes, I put my hand on your back and
said sorry, babe, I know you're starving, you said, voice
cracking from the memory that you'd only had half a
pop tart and am still light twenty three hours ago,
and now you felt like an outlaw. I said, wow,
I said, don't cry. You said, I'm not crying, God
damn it. Yeah, that's yeah.
Speaker 2 (50:16):
But I'm still like, we need to go somewhere iconic.
Speaker 1 (50:21):
You're goggling eaters, like, what do I get this book?
I give this a book?
Speaker 3 (50:27):
Ah, I loved it.
Speaker 1 (50:29):
I'm point yeah four five like touching missives to a
dead father, four point one vintage bottles of Coca Cola.
I think that I love the form. Yes, I love
the format and the breaking of form and a non
traditional memoir. And I like this sort of like you
don't have to call this auto fiction, no, because it's
(50:51):
not like a narrative, so it's already like built into
the format of like writing these kind of anonymous letters
that it doesn't have to be to a real person.
Speaker 2 (50:57):
No, it's memoir like enough, even though like it's fiction.
It's about her and it's about her life, and it's
about how she feels and how she dates and how
she fucks and how she loves.
Speaker 1 (51:07):
And it's you know, I mean, it's about her emotions
and feelings and she's getting at them without having to
say this happened.
Speaker 2 (51:12):
In this happens, you're almost getting more of a real
sense of the person. Then let's say, you know, if
she wrote a story about like and then I went
to tish.
Speaker 1 (51:21):
It's a beautiful, revelatory piece of literature. And I encourage
you all, after listening to this episode to head over
to your laptorp and write a letter to someone.
Speaker 2 (51:32):
Mmmm. It can be to yourself, okay, Chiles, or just
someone masculine or not. Yes, you don't have to go
to Mary Louise Way.
Speaker 1 (51:44):
We love you, We.
Speaker 2 (51:45):
Love you, Keep writing best best.
Speaker 1 (51:50):
Dear producer Darby Besters, whose lips pulsate with the juices
of my peaches. May you for ever taste me on
your tongue when you fall asleep next to him.
Speaker 4 (52:05):
Dear supervising producer Abuzaphar, the night had almost snowed and
it was may you supervised produced a podcast with me
all night long, and we fought and we produced, and
we fought.
Speaker 1 (52:19):
I got Mexican, My love.
Speaker 2 (52:22):
Dear mister executive producer, Christina Everett, I saw you were
in the ice cream stand nineteen ninety nine. You gave
me a scoop.
Speaker 1 (52:36):
Dear Engineer Derek Clements. The way you drove that car
down the pch made me fear for my life. It
made me fear I would never see my dog again.
And yet when the windows rolled down, I smelled that
beautiful sea foam air. I knew that you were the
(52:56):
one who could take me to ecstasy and take me again.
And then you took me right there on the side
of the road, and triple A never came, but I did.
Speaker 4 (53:12):
Dear mister Stephen Philip's horst.
Speaker 2 (53:16):
What is there even to say when one.
Speaker 5 (53:19):
Takes your soul, rips it out, recycles and drops it
off at beacons, over and over and over again, and
makes a theme song with a new shirt because you
think you can. I said you can, and I said,
leave your job as a lawyer, make music, make theme songs.
You shut me out, And then ten years later I
(53:42):
called you and your wife picked up. She said, he's
making a theme.
Speaker 1 (53:45):
Song right now for a podcast.
Speaker 2 (53:47):
Its prey book, Stephen Lily.
Speaker 1 (53:50):
Dear Prologue projects, or should I say, Daddy, you gave
birth to me? Or should I say you dropped your
seed off the sea that became who I am today.
Dear Daddy. I fucking love you, dear Daddy. I'm sorry
for everything you went through. I'm sorry for the war.
(54:10):
I'm sorry for the cries of other podcasts you still
hear ringing in your ears. Dear Daddy. All I wanted
was for you to love me, to tuck me in,
to make me dinner, to fuck me. Dear Daddy, I
miss you. I hope I made you proud, Dear Daddy.
(54:35):
I hope you still think i'm your pretty little girl.
I'll wait for you on the beach like I promise.
I don't care how cold it gets. I'll bring a parka,
I'll make a fire. I'll bring the tea in that
thermos that you always left me tea in because I said,
(54:56):
big girls bring tea to school for lunch, and you
let me drink that tea. And now I'm waiting for you,
dear Daddy. I still love you, Dear Daddy. I forgive you.
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