The dining hall lurches with athletes. You sit down next to your friend’s maybe-roommate and she looks down at her own plate. “Wow,” she says, “you’re eating so little.”
Late one Friday night, buzzed and carrying packs of sour candy from the Wa, I wandered to a room in Whitman. As my host and I sat on her bed, alternating handfuls of Sour Patch and some other Technicolor monstrosity, her roommate decided to show me a video for “Beauty and a Beat,” performed and directed by everyone’s favorite cultural punching bag: Justin Bieber.
The following passage is adapted from the opening of Albert Camus’ The Plague, which is a description of Oran, a city in French Algeria, in the 1940s. I have translated it into English and into the setting of Princeton in 2013 (office jobs become classwork, going to the movies is replaced by the more common pastime of the Internet and so on), but those are the only changes I believe I have made.
Rorschach tests and free-association exercises seem to me too well known, too expected to be useful for psychoanalysis. But I have found a new test to capture the shallower motions of our subconscious: the words of students childishly bumbling and … Read More
The first graffiti I ever saw were unremarkable messages etched into my middle school’s peeling wooden desks: people’s initials conjoined inside hearts, a mysterious pointy S shape, and invitations to “put an x if youre bored.”
It was 9 a.m. Awakened, as I often am, by sunlight, I opened my door to go to the bathroom downstairs. Supine, to the side of my door, was a male form, blonde and muscular and naked. His hands were cupped over his genitals, his underwear crumpled by his head. His eyes were closed. I froze in surprise, but I had to pee, and out of some ingrained politeness didn’t want to disturb him. I stepped over him quietly and went downstairs.
If you ask me who my favorite writer is, I’ll probably say Albert Camus, because I love his writing and his ideas and also because his name is recognizable and thus me liking him helps construct a certain image of me. But I am less moved by Camus and the Nobel-prize-crowned glory of his rhetoric than by one more obscure author, whose ideas boil down to little more than a grammar of unhappiness: my favorite novelist, Romain Gary.
Like any child of the millennium I’ve moved through several cell phones. Each served as a safety blanket, a confidant, a sort of external hard drive for my social life.
