lynn phillips & maggie cutler

two names, one writer

Author: admin

From “The Secret Life of Kitty Lyons, by Maggie Cutler”

Between 1999 and 2000 I published some 40 columns on the hipster sex site, nerve.com, and in their print publication, Nerve. In the French tradition the columns fused political satire and porn. Their premise was that Kitty Lyons, a work-from-home day trader in her early thirties who shared Henry Kissinger’s conviction that “power is the ultimate aphrodisiac”, would occasionally retire to her couch to masturbate while having sex fantasies about movers and shakers in the news. Although Kitty was a fantasist, her husband, Max, was a documentary filmmaker who, as she put it, “believed in reality.” Nevertheless, she was able, on occasions such as this one, to lure him into her premise. When this piece ran,  Donald Trump had left the Republican Party to explore a Reform Party bid for the White House.

Trumped Up

Original Publication date: Nov. 24, 1999

Last Wednesday, every chakra in Max’s body went chapter 11. His documentary, Homebuilding in the Heartland, was only half in the can when its German funder pulled the plug, and despite the windfall I took with 200 shares of AOL, he slid into a major droop. I tried sympathy, massage; I even sat with him through Ric Burns’ epic Donner Party, but nothing could induce the man I love to lick my wounds instead of his own.

Fantasizing about sex with a billionaire has been known to pull me through a funk; maybe it will perk up my husband, I figure. I book a room at the Plaza Hotel and tell him to meet me at 6:00 the next evening. “You must arrive as Donald Trump,” I command him, “and be prepared to rule the free world.”

Things begin well. In a blonde wig, spikes and enough mascara to tar a roof, I enter the Oak Bar feeling as mischievous as Eloise on hormones. Max arrives wearing the perfect Trump shirt: expensive and repulsive. He’s strutting with his chest puffed out, and he has combed his eyebrows up into frightened caterpillars.

In our tiny room (the best we can afford), I strip slowly, as if my body were a shady bank loan whose details it might be dangerous to fully reveal. Donald-Max lets out a whistle and tries to talk me into doing a Playboy centerfold. “Get you a million bucks American for it,” he wheedles, caressing my hip,” and I’ll only keep one third.” But like Marla, his ex, I’m obliged to decline due to deep religious and spiritual convictions.

My coy refusal (a transparent bid for a favorable pre-nup) accompanied by the sort of sultry pout that assures a man you love him primarily for his liquid assets, makes Max feel all mogul-like. His manhood skyrockets in value, burgeoning instantly from indebted worm to $9.2-billion-dollar Reform Party Contender.

I grab his handle as if he was my lucky slot machine, then go down on him like a pro, without the preliminary licks or sniffs that normally make it fun for me. Now that my husband’s a greedy go-getter worth billions, it gets me hot anyway.

“Fund me now,” he cries, and proceeds to excavate my foundation.

“I’m going to make Mike Tyson Secretary of State,” he pants. “I’ll meet with Arafat at Wrestlemania. Subsidize plastic surgery for the ugly and uninsured. Reporters who don’t like it will get audited.”

No sooner do I begin to congratulate myself on coming up with this clever scheme, when Max enters turn-off territory.

“I want a divorce,” he continues, “so I can bed every good-looking babe on the Elite Modeling Agency roster, except, of course, my daughter, whom I must by law bequeath to another billionaire to marry and dump when she gets old enough to have a brain.”

All of a sudden this fuck is starting to feel like one of those bright ideas that, once begun, drag on for dismal eons — like The Blair Witch Project or the House of Lords. I fake a few moans to hurry him up, ready to settle for what Marla got (about .001%) and bail the hell out.

Maybe Max can tell, because all of a sudden he breaks character completely. The way he calls out for Kitty, his intensity and the need I feel in him make giddy sensations spin through my tits and twat like roulette balls. Casino lights flash in my blood and my clit tingles like a gambler on a roll. By the time Max’s newfound confidence spurts forth, I’m wet enough to . . . to . . . Soak the Rich!

Afterwards, the latest Trump campaign slogan hovering in my post-coital mind, I can practically hear my mother lecturing about how Trump is the only candidate who addresses the problem of income disparity. Thanks, Mom, but I’ve learned more than enough about Trump from sleeping with my husband. For me, The Donald was only truly sexy before his famous Comeback, when he was down, in doubt and in love, when the swell of his desire was pressed against the locked doors of edifices he himself had erected, when he was raining flop sweat and looking up the skirt of fortune, begging her for one more taste. Cocky and on top of his world he gives off all the emotional complexity of a gold brick.

I’m just about to tell Max how much I prefer his own student-loan-afflicted self when he preempts me.

“I’m not Donald Trump anymore,” he declares.

“Good Boy!” I exclaim supportively.

“I’m Steve Forbes!”

I beat him with my wig until he agrees to drop out of the race.

Spalding Gray Interview

Titled “Heaven Can Wait,” From The Downtown Express, column, “The Big Idea by Lynn Phillips” November 7th, 1990

What’s striking about the Soho loft Spalding Gray shares with his sometime director and collaborator is its modesty. There’s nothing on the walls but two exotic masks, as if somebody started a collection but immediately thought better of it. There’s an old, lushly red kilim versus a simply functional kitchen. In the middle, all alone, is a small table, tin-topped. Sitting at it, you’re perfectly suspended between sensuality and monasticism, hominess and disengagement, self-acceptance and penance.

Gray has built a solid culture-circuit career sitting at just such a small table, telling stories about his adventures, insights and worries. And the minute you hear those flat New England “A”s, his past performances come flooding back in all their edgy charm: Point Judith; Sex and Death to the Age

14; Swimming lo Cambodia. His current monologue, Monster in a Box, which opened in previews at Lincoln Center’s Mitzi Newhouse Theater on November 2, is nearly sold out for its November 14 to December 31 run. But what is it about this guy that makes what’s intially a cheesy, self-obsessed routine so expansive, so inclusive, so richly amusing?

Jimmy Swaggart comes up right away: ”It terrifies me to see Jimmy Swaggart on television,” says Gray, “although l watch him all the time. I see the form of what l’m doing in it. I wish I had seen him ask for forgiveness, the way he turned it around and used it us more material.”

Gray is crusty, not a nay-sayer, but a disputer who once compared his creative process to an oyster’s. The very idea of Big Ideas be finds especially irritating, (“Truth,” Gray counters, “is in the details.”) and the most annoying Big Idea be can think of offhand is Heaven. “It’s about putting off pleasure,” he explains, “the idea that ‘What’s really happening hasn’t happened yet.’ That’s a Big Idea I wish I hadn’t been exposed to. I don’t think I’ll ever deprogram myself entirely.”

Gray, who was raised os a Christian Scientist in Barrington, Rhode Island, recalls “my mother asking for the silent prayer, which was like a form of meditation, and my father being completely addicted to rare steak. So we used to bow our heads and pray with rare steak blowing up our noses. It was hard to think anything but carnal thoughts.” Later in life, meditating in a zen monastery, he found “the hardest times were when they were cooking.”

 

So there it is, in the furniture, in the anecdotes, on TV: a dualistic tug-of-war between the spirit and the flesh, transcendence and banality. It’s a tricky tussle. The carnality of meat is a trap, but repudiating meatiness for the sake of some post-carnal “heaven” is a trap, too. Gray’s main story is about how he tries to thread his way between all the moral contradictions and ambiguities of a modern, media-mediated life. It’s a story of process. “It was never an idea to sit behind a table and tell stories,” Gray insists. “It was an evolution.” And still is.

Gray gravitated towards the arts, he says, in part because he felt like an outsider. “Because I was a Christian Scientist, all my friends would say, ‘So you don’t believe in goin’ to doctahs, right?’ I’d say,

‘That’s right.’ and They’d say, ‘What if this tree fell on you?’ Horror after horror. It felt like all my friends had death wishes for me.”

In 1977, when he was 36, Gray co-founded The Wooster Group at The Performing Garage with  Liz LeCompte. LeCompte, The Group’s director, would ask him to repeat his stories so she could tape them and work them into a text.

Gray, however, felt himself pulling away from the collective mind; he wanted to “take responsibility for everything.” One day, touring with The Wooster Croup in Amsterdam, “Walking alone in Van Gogh Park, I had what was like a revelation that I’d be doing a series of autobiographical sketches. l was elated. I thought it would involve props, costumes, a one man version of The Wooster Group shows I didn’t know I’d just be sitting at a table speaking.”

The table he sits at when he does his act is an important revision of LeCompte’s staging, part of Gray’s dispute with religious Bigness: “Liz worked with a big table; mine is the shrunken version: the card table version of the Last Supper”

After Gray left the Wooster Group, he went to Santa Cruz and began to crash classes at the university. ln a course called, “Philosophy of Emotions,” he befriended the professor, Amlie Rorty.

“We were walking in the redwoods. I’d mistaken my predicament with leaving the The Group with the end of the world. And she said, ‘You know, the last artists in Rome when it was collapsing were the chroniclers.’

“And I said, Of course! That’s it! I will chronicle my life in stages, but not write it down—this is the other epiphany – it would be oral.  The world could end. It could end that night. There would be no product left over. It would be an epitaph.”

The purity of this formal metaphor was soon diluted by the hope of salvation and the smell of steak: “Then I started to get these offers to publish and do a film of my monologues, and of course, I’m like anyone, any man, I’m afraid of death, I yearn for immortality…”  Products were spawned, as Gray, in recent years, has mastered the spin-off. When success as a monologuist won him Hollywood movie roles (The Killing Fields, Beaches), his show-biz misadventures became part of his act. Now he’s writing Spalding Gray’s Book, for Knopf. It’s all about Spalding Gray, person, and “Spalding Gray”, his stage persona. The distractions he experienced while writing the book have become the subject of Monster in a Box.

The phone rings. Somebody wants “Spalding Gray” to do a dress rehearsal. What does a dress rehearsal mean when you play yourself? “It means I put on my plaid shirt,” says Gray.

The difference between the plaid shirt Spalding  Gray removes and the one that makes him “Spalding Gray” is miniscule—but crucial. The Gray without the quotes is torn. He’s studying Buddhism under Robert Thruman, and Life with loftmate Renee Shafransky, who mistrusts all mysticism. “Spalding Gray” in quotes is booked into ’92. He’s a show-biz sage, a Swaggart of ironic self-awareness. Part of his job, now that he’s a product, is to control how he’s used.

“I think in terms of ‘horizontal fame,’ he says. Keep your audience growing without thinning your act. Don’t go for mass “bigness” at the expense of downtown complexity. In recent appearances, he’s also begun to interview audiences, to cross his proscenium, share his spotlight.

Meanwhile Gray the truth-seeker is tempted to swap spotlight for halo: “My Big Idea is, um, probably dangerous.”

He reads from a tiny spiral notebook: “‘To conceive of my inter-connectedness and realize pure, selfless compassion.”‘ Meaning: “that I would feel the same about you as I do about myself — a very exhausting concept. It usually leads to Mother Teresa and working in hospitals.” He pauses. “Or to the insane asylum.”

Luckily for you, Spalding Gray is still dizzy with possibility, and heaven can wait. The awful bigness of Gray’s vision of enlightenment, juxtaposed with the devilish details of his attempts at it, are what makes his self-centered performances so selflessly universal. Stuck between paradise and Burger King,  Gray sums up his current stage of spiritual awareness with a line of urban zen: “It’s all about trying not to litter.”

Why read it?  My editor at The Downtown Express was Jan Hodenfield. Years after Gray’s terrible death in 2004 Jan called to tell me he’d reread this interview and it remained his favorite piece of mine and also his favorite piece on Gray,  In the light of subsequent events, the themes it strums and conflicts it delineates are really haunting.

From Heresies Magazine 1989

 

A TO DO OR NOT TO-DO

By Lynn Phillips

Here in America, you can be anything you want. All you need is a positive attitude and a dash of moxie. But I want to be so many things; I’m having trouble getting started.
On the one hand I yearn to be elegant, really elegant, one of those social paragons with flawless, surgically stretched skin and an orthodontically impeccable smile. I’d wear a Lacroix gown accessorized with jewels as big as meteorites. My shoes would cost a typist six weeks’ wages. My hair would be tipped by a man you’d swear was Botticelli in a former life. At my elbow would stand a tuxed-out older gent, one who’s earned his money the hard way—sucking up to the right people. My amusing escort would steer me bullishly into a drove of Page Sixers at an eat-your-heart-out charity feed thrown on Trump’s lovely yacht, or in the cultural penumbra of an otherwise public museum. There, I’d be envied for my villas and Van Goghs, admired for my unfailing generosity, my discreet charm, and my brilliant lawyers. Outsiders, reading about me in W. would feel comforted to know that any civilization that produced me couldn’t be all bad.

 

On the other hand, those smug, snitty socialite bores make me want to throw up. How dare the privileged Few flaunt their fortunes before the destitute? Oh to see those doges and their dowagers blown to bits in a great, booming explosion. Wouldn’t that be gratifying?

 

lmagine: ruby shrapnel and shards of diamond ricocheting off the shantung walls, whizzing through Porcini-shaped clouds of Opium-scented smoke while poached eyeballs spin giddy, bubble• chamber trajectories through a galaxy of waxed legs and imploding centerpieces. Picture severed heads of once vain and mighty men zooming through the air, a hail of comets, flumes of consommé trailing each in its parabolic wake, while roasted wags, untrussed, soaring, rocket through the after-dinner gyre of salad—shredded brocade, pureed pace-makers, blood-red radicchio—clear to the shattered chandeliers and on!

 

Such a festive conflagration would surely revivify fashion and the Arts, yet I balk at what it might do to the ozone. Besides, I detest violence. It won’t pay the dentist. It won’t melt the heart of a bureaucrat, pull a daddy off crack, or wean the Iower-middle classes from their dependency on Spanish Colonial décor. No, violence breeds nothing but, more violence. So l don’t know what to do.

 

Even in the middle, muddle rules. Should I renovate a basement in a travesty of Anglophilic taste, hire bodyguards, and cultivate a self-satisfied throng of vapid celebrities? Or, is the life of a demimondaine club-owner too frivolous? Maybe I’d better become an insurance adjuster, making sure that nobody collects unless her injuries are documented! Is this what I want? Or that?

 

One way or another, questions nag: Should I earn more than I need? Spend more than I earn? Seek fame on talk shows as an achiever, or as a victim? Should I weekend in the Hamptons or gentrify Harlem? Truly mother, or merely reproduce? I can’t even decide if I should draw my sense of community from Ted Koppel or from Snoopy. I’ve too darn many options, and just thinking about them all makes me hungry.

 

But what to eat? If simple fare, then macro, or Roy Rogers? If complex, Chez Panisse or Tex-Thai? Should I cook, order in, or eat out? Maybe I should run down to the soup kitchen and ladle out some slop for those beggars and moochers who skulk around my neighborhood rubbing our noses in our own heartless hypocrisy. Should I? Are crumbs of mercy filling? Or merely degrading. Both, obviously, but which? Perhaps I should go on a fast.

 

Most likely I’d have been happier in simpler times when a person had only to ride the great American West, cheating bellicose Indians of their land, shooting gold-crazed Chinamen for their mining claims, or killing cattlemen who’d pay anything to get the railroad routed through their small-minded frontier towns. It was easier once, no doubt, to choose between being a Wobbly organizer and a Pinkerton goon, to husband vain dreams among the polyglot factions of the oppressed, or to bash in their anti-American skulls with one’s truncheon. Easier, but tricky.

 

Our cultural past is just as hard to figure. Would l have said yes to Walt Whitman’s Transcendental muse, or to Walt Disney’s transcendent mouse? Better yet, starting as a prohibition-era talent agent, maybe l’d have risen hook by crook to head a major studio, beguiling the minds of my generation with dreams of G-men, warriors, and the women who love them. But that’s all moot. One must stay in one’s own time and skin; live in the Present!

 

No, no more procrastinating! I will triumph over indecision. But how? Should I channel mummies through a house-wife’s larynx? Get in touch with my body or opt for out-of-body bliss? Should I invest my savings in therapy, summon the Furies of childhood, then learn to croon them to sleep with self-absorbed lullabies? Hmmmmm. Jogging might do as well. Or sitting zazen, or lifting weights. Any disciplined routine to get me into the rhythm of decisive action without the distractions of content or consequence.

 

Perhaps I ought to join an Anonymous Society and entrust my life to a Higher Power? The Higher Power can be anything I wish: Moscow, Mary, Elvis, you name it. At any hour of the day or night, if Elvis wills it, my fellow sufferers—the stymied, the scattered and shirkoholic—may ring me up. And I them. A tight support system—is that the solution?

 

Deep in my heart I know that prodding and poking at my problem won’t solve it. The only way to defeat lethargy is to do something, anything. Sign a personal check to help science test a new cancer drug, albeit on innocent monkeys and bunnies? Support groups opposed to such cruel practices, thus slowing the metastasis of hope? Maybe I ought to write a note admonishing my congressman to ignore all those munitions lobbies and xenophobic voters who put him in office? No, I’d be more useful sending blankets to the baked plains of Ethiopia, or shipping medical supplies to the armies of Nicaragua to abet that noblest of causes—a small nation’s struggle to choose which superpower to owe. Oh dear.

 

Perhaps it would be more effective to teach just one teenage mother to read. After a few years of patient work and sacrifice, for which her children (once they’re successful word-processors) will no doubt thank her, she’ll be able to read this. Or something more upbeat, a fashion mag, or supermarket romance. She’ll be able to make her own choices then.

She’ll be as free as I.

 

I know that sloth is a sin. Still, reviewing all the viable alternatives to it wears me out. l’m sleepy. Time for a nap.

I curl up, and my cat, Purina, jumps up on the futon for a cuddle. What a creature! She is not at all confused. She has no job. She has no social ambitions. No social conscience. She has much to teach me.

Watching her, I can see what I must do. I must find a Higher Power to take care of me, a Higher Power who’ll scratch my back and leave me alone with a full dish on weekends. I will learn to clean myself with my tongue and go to the bathroom in a box of gravel. I’ll hunt mice and catch them; I’ll regale them with tales of tigers, leopards, and the rodents who love them. I’ll bat my little Mickies and Minnies around like hockey pucks, or Pinkerton Men, or Latin refugees. Then I‘ll experiment on them scientifically with my teeth for awhile before presenting my empirical results to The Great One. If I get bored or lonely I’ll crawl into a paper bag and rattle up a childhood trauma or two, then scamper forth reborn. And should the Almighty seek to soothe her conscience by writing a check, I’ll bite the hand that grips the pen, or nibble a leaf of grass to make myself spit up on Her signature. No teenage mothers are going to learn to read while I’m around! I’ll stand on their books and stick my sphincter smack in their faces! In such behavior lies truth, simplicity, and honesty.

But alas, I am no cat. I am only a confused good-for-nothing, fated to flatter and praise the go-getters and never-say-diers, the movers and shakers, the can-do-and-did-ers, those whose lot it is to build, build, build, for better or worse, in sickness and in health upon this earthly paradise a temple of marvels, a monument to the dovetail fit of demand and supply, factory and shopping mall, of tyrant and jester, killer and nurse, and to bequeath their creation with love everlasting to their cherished offspring that they may build and bequeath In turn, hand over fist, mind over matter, Life über alles and a pox on Laggards!

Published in the print version of Heresies Magazine 1989
Issue #24: 12 Years (Anniversary Issue) (Volume 6, Number 4)
Why Read it?
This piece has been omitted from the online archival version. But I like how fresh this piece feels 27 years later.  When it was written, many contemporary forms of human folly and wasted energy—“social media marketing” for example—had not yet been created, but the basic template of folly and waste—an economy of cruelty—was well in place.
I could have used an editor on this one. The endings are too numerous and bludgeon the reader with too much whimsy besides. What keeps me in love with it are its concluding blasts of ferocious ambivalence. 

more update

Lynn Phillips is currently blogging on addiction (from neuroscience to metaphors) at Psychology Today.

Neke Kit and Goat Carson at the Gershwin Hotel 2011Here’s a piece on the fabulous Carson brothers I did for T Mag blog…I called it “Here’s Looking At You Kids” but they retitled it “Soul Brothers.”

skirting disaster

skirting disaster

You can read “Skirting Disaster,” Phillips’s latest T Magazine (print) piece as a PDF lifted from the NY Times blog.

Rodarte stripesHere is a page of links to several T Magazine pieces, including what in print was originally a double-pager on stripes.

A Lynn Phillips Update

T mag article on paw shoes
You can find my latest T Magazine piece on the Self-Loathing-for-Beginners Site, along with updates on the Brit edition (see next post).

Also, I have been blogging — sometimes rather well — on addiction for Psychology Today. The column is called Dream On…. It needs clicks to survive, so I hope you will visit it and spread the word (as if you have nothing better to do). The words “addicted to” are used as loosely as “irony and ironically” were in the 90’s. We can’t seem to stop describing every compulsion, obsession, predilection and bad habit as a full-blown addiction. Leastways, I can’t. Addiction metaphors are, well, addictive. I intend to explore why.

Going Brit

aurum press ed SL4BAurum Press, Ltd. is bringing out an English edition of Self-Loathing for Beginners, re-entitled I Can Make You Loathe Yourself : The Infallible Step-by Step Programme for Lowering Your Self-esteem. Evidently, there’s a popular series of motivational books that begin with “I Can Make You…” (Rich, Successful, Gullible, etc.), and this new title is a riff on that. The target pub date is October 25th. The text will remain basically the same, with a few updates and cross-cultural adjustments.

Waterstone’s, London’s largest bookstore, plans to push it for Christmas, along with sugarplums, I hope, and a few well-deserved lumps of coal.

what swat

link to amazonFor news of Self-Loathing for Beginners,
Lynn Phillips’ book of helpful advice,
visit www.sl4b.com.
You can pre-order there, or by clicking
the image at left.
For Phillips’ Self-Loathing in Fashion awards, the DILFITs
(Do I Look Fat In This?)
see The New York Times T Beauty Magazine, April 13th.
ward sutton for HBOStay tuned for samples of Maggie Cutler’s columns from nerve.com: “The Secret Life of Kitty Lyons,” a series of political sex fantasies from the Clinton era.

There will eventually be an archive of other writings by Lynn Phillips, a.k.a. Maggie Cutler, from The National Lampoon, The Realist, Newsweek International, The Nation, and etc.,
hair
Thumbnail links to Lynn Phillips’ artwork
and a highly selective blogroll.

Phillips/Cutler posts to the following sites: