Category: 52 in 52 (page 1 of 1)

How To Do Nothing


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I’ve been off from work since Tuesday, and I’ve got two more weeks before I return to slacks and emails and zooms and the pandemic remote work struggle of balancing work and personal time.

As far back as 1886, decades before it would finally be guaranteed, workers in the United States pushed for an eight-hour workday: ‘eight hours of work, eight hours of rest, and eight hours of what we will.’

— Jenny Odell

During this extended leisure period, I’m still thinking about work or, more accurately, I’m thinking about how we spend time, how we value time, and how I show my team that I respect theirs. To show proper reverence for our most valuable commodity requires me to appreciate my own time and what I do or don’t do with it.

Ah, let’s see what fresh horrors await me on the fresh horrors device.

Jenny Odell’s How To Do Nothing opens with a Twitter quote that encapsulates how I often feel when I’ve spent too much time scrolling. Despite efforts to better manage the experience, the algorithms are better than I have been, and I will find myself in the doom loop refreshing and refreshing to find some new nugget that will spark a reaction in me. Joy is rarely the return on investment of that time.

Yesterday, though, I made some different choices with my time. Instead of endlessly swiping through tweets, I read up on the squirrels that roam the trees outside my home office window. That led me down a path to understanding more about the San Fernando Valley ecosystem. Later in the afternoon, when I opened The Wild newsletter from the LA Times, I read it more deeply, identifying things that might help me feel more grounded. Odell writes about having a stronger connection to the physical world around you is more real. It is an actual reality.

Our social media spaces generally lack the contexts necessary to feel real. They present distractions and solicit reactions but rarely in a meaningful way. Odell is quick to point out that she’s not suggesting quitting them all and never returning. “We have to be able to do both,” she says, “to contemplate and participate, to leave and always come back, where we are needed.”

Which raised for me this question: what do I go to each of these spaces to do? On Twitter, I most want to interact with my friends and acquaintances. Occasionally, I want to be entertained by digital culture (though maybe I’m getting that dopamine from TikTok more these days) or be in the mix of basketball chatter or Los Angeles happenings or catch up quickly on breaking news.

However, I rarely am looking to do all those things at the same time, and that is the social media platform trick. I come to see what my friends are sharing, and now I’m lost in covid news or trying to understand a meme or reading a trending topic. There’s no context. It’s a noise storm that I willingly walk into and remain for far too long.

I have different specific intentions for other platforms yet haven’t treated them with care or discipline either. I’d love an algorithmic reset button for Facebook and Instagram, but I will settle for revisiting my follows and actively thinking about my purpose when I enter them.

And to get engrossed in more soul-satisfying pursuits, including the act and art of doing nothing.


There is so much more to Odell’s book than merely a discussion of dealing with social media. It’s part philosophy, part history, part naturalist, part adventure. It is not, however, a how-to book.

It kept my mind ablaze throughout.

I highly recommend.

29 in 52: What I read in 2014

“People with so much to say but I’m only hearing the words that you left me with on that day.” Mary J. Blige, Nobody but You

I thought I had read a lot more this year than last because I’ve spent the entire year commuting by LA public transit but because of Serial and my new interest in podcasts, I’ve spent the last month listening rather than reading so I’m only five books up on last year. Boo. There’s too much media to consume.

I read a lot of good stuff this year, particularly in the first three months. I wrote about Americanah and Urban Tumbleweeds in January both of which are still among the most memorable. I finally read Kindred which somebody should make into a film. That time travel story was after I read 11/22/63 which is Stephen King’s excellent novel around the same concept. I love a good time travel tale.

I read a grip of graphic novels this year. The Manhattan Projects and Saga and Hawkeye continue to be great fun. I also read Winter Soldier and Days of Future Past after seeing the movies. On friend recommendation, I checked out Ms. Marvel and Lazarus and was not disappointed. On Amazon recommendation, I read The Wicked + Divine, Black Science, FBP, Velvet, and Sex Criminals and all of those were entertaining and often gorgeous to look at. Image is really hitting it out the park right now.


I think my favorite book of the year, though, was Hatching Twitter by Nick Bilton. The service dominates my every day. It’s birth (and the tools and people that spawned it) coincide with my own growth and participation in our digital culture. I was at those South Bys. In some ways, its history feels a bit like my own history. #relatable

It’s also just a damn good read. I devoured it and wanted to talk about it to anyone who had also read or cared.

I also recommend (in no particular order)

Also, books I acquired this year but have yet to read/finish reading

Urban Tumbleweed: The Dust That Clings…

“It’s just another day, another episode.”Van Hunt, Dust


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Zadi Diaz tweeted this the other day in a retweet:

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That resonated with me as I’d been slowly making my way through Urban Tumbleweed, Harryette Mullen’s tanka diary released late last year. Like Americanah, I read this as a physical, rather than e-, book. Poetry seems like something you should be able to squeeze between your fingers or hear spoken aloud.

It’s entirely possible I don’t know what I’m talking about, though. I don’t read much poetry. My interaction with poems are more of the rhythmic american variety.

But I tumbled an LA Times review that featured one of her tankas and it was clear something in it was meant for me. So, I’ve been reading it during rides to and from work and finding myself attempting to capture my observations of the happenings on the metro in verse.

Tankas. Longer than the haiku that are more common in the US. These are my poor attempts at that form.

A trio of girls take selfies on the speeding train, 
Quick flashes of light and dark as background 
I could learn from their artistry

The toddler and the old man next to each other but unrelated 
One in stroller, the other with cane 
Neither on sure footing

Loud youngsters drink and intimidate until they reach their stop
As the doors close
Quiet kindness returns for the relieved riders

Two girls pantomime being fisherman and prey
Giggles, smiles, and finally an embrace oblivious to all 
I smile too.

The world makes more sense in a poem.

Falling in Love with an Americanah

“Now I’m falling in love all over and over again.” Onyeka Onwenu, Falling in Love


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I’m listening to Onyeka Onwenu’s Legend Reloaded right now. She’s a popular Nigerian singer and actress (and much more) who gets name-checked in Chimamanda Ngozi Adichie’s Americanah. I’d never heard of her before which is probably a sign of my American-ness. Characters in the book—as well as real people discussing Beyoncė’s Grown Woman track—roll their eyes at the rest of the world’s seeming inability to get beyond Fela Kuti and 70s era Nigerian funk and soul and see the progression and complexity of modern popular culture in the country.

Beyond the relationship between the two main characters, Ifemelu and Obinze, which is a compelling one, what I was most appreciative of is this constant reminder of how ignorant I am of Africa and it’s many varied peoples and countries. I’m humbled by this. While reading, I felt far less cosmopolitan than many of these fictional folks.

If you’ve read any recent best of book lists, you know this is one of the most beloved novels of 2013. So I’m not going to review it. It’s very enjoyable. I could spend a whole ‘nother novel with the character of Dike who, if this was a movie, steals the show every time he appears.

I will note that this is the first physical novel I’ve read in a good long while. Most of my physical books these days are graphic novels. I retained more—at least of the emotional impact—reading this way. That tactile connection is powerful. I did miss being able to quickly highlight sections of the book and be able to go back and review them online. My scribbled down notes aren’t cutting it and so you’ll find no quotes on my tumblr or referenced here because I’m not sure of their accuracy.

This was my first Adichie book. 

It won’t be my last.