


I don’t know how the story came up today, but somehow it did. I’m going to tell it to you now, and you should know two things before I begin:
1. The story involves boobs and I have to call them “boobs” because the word is part of the story;
2. I asked my younger sister for permission to write this up. When you’re telling a story about someone else’s bosom [<— see? no] you ought to ask first. A rule to live by.
Years ago, my younger sister Rebecca and I were on Washington Island, enjoying long, hazy days of summer vacation. We swam at the beach, read book after book in patio chairs on the the deck, ate candy bars and mac n’ cheese, etc. I was in the first half of high school, I think, which would’ve put my sister at the tail end of junior high.
Rebecca and I shared a room in the cabin we occupied that summer. Now, my family — me, my older sister, my younger sister, and my mom — is a loving, open one, emotionally-speaking. If you have a problem, you can talk about it and you will get a decent hug. But my mother is extremely modest and that modesty was passed onto her daughters while we lived under her roof. This is neither good nor bad, it just is. I don’t know about my sisters these days — I should ask them — but at some point I rebelled against this modesty and now wonder at times if I’m not a bit of an exhibitionist; I fling off my yoga clothes with glee and couldn’t give a flip if the shade is up or down. I kind of like it when its up.
Anyway, when Rebecca and I were sharing that room that summer**, we were respectful of each other’s privacy and gave each other a wide berth. If one of us was getting dressed, the other would get dressed in the bathroom. Privacy, space — my family respects these things and anyway, ew?? Naked sister?? Grody to the max.
But one afternoon we were changing out of our swimsuits and we ended up in our room at the same time and didn’t care. Maybe our older sister was hogging the bathroom, maybe we were rushing to get to the drive-in ice cream place before it got dark out. All of a sudden, mid-change, we decided to see who had bigger boobs.
“I think mine are bigger,” I said, my sweatshirt halfway on. We had not yet decided to actually compare chest size.
“I don’t know,” my sister said, holding up her bra, swimsuit still on. “Mine might be bigger.” There was, perhaps surprisingly, no competition between us on the issue as I remember it; we were just genuinely curious.
“Maybe we’re the same,” I said, and then, with wide eyes, “Do you want to actually see if we are? Like, should we look??”
And then, with much giggling, my sister and I got in front of the full-length mirror — careful to put plenty of space between us — and decided on the count of three that we’d yank up our respective shirts and compare boobs. Which is just what we did.
“One, two, THREE!”
We were about the same, as it turned out. And neither of us was expecting to be shocked or scandalized, but I think we were both surprised how not a big deal it was to see each other’s boobs. It was like, “Oh, sure. Boobs.” (I can only imagine how different the boys down the road would’ve reacted to such a display. A slightly different reaction, one imagines.)
But then something horrifying happened — and this is why the story gets told in my family all the time, why it turned into a catchphrase for us. My sister and I figured we had to examine from the sides, not just the front, obviously. We had a perspective issue from the front. But we did not have a plan in place for this profile view. So there we are, looking in the mirror, cocking our heads this way and that to figure out which Fons girl was ampler, and I go, “Okay, turn to the side and let’s see from the side,” and my sister, who is on my left, turns to her right. I turn to my left, and that’s when it happened: Our boobs made contact.
“AAAAAGHHHHHHHHH!” my sister screamed, jumping away from me so fast and far she practically hit the wall on the other side of the room. She made a sound like a dying goose and cried, “BOOB TOUCH!!!”
“AAAAAAGGGHHHHH!” I screamed, recoiling like a cocktail shrimp, grabbing my sweatshirt, gasping, making gagging sounds and generally making a scene. We were laughing so hard we could hardly breathe because “boob touch” was hilarious and we were totally grossed out, too. Aside from the fact that we had just TOUCHED BOOBS, we had touched clammy, post-beach, wet swimsuit boobs, so they kind stuck together for the split second that we made contact.
“BOOB TOUCH!!!! AAAAAGGHHHHHHH!” We continued to gasp and splutter and I’m sure we ran (now fully clothed, of course) to tell the story to Hannah and Mom immediately. To this day, I can make myself laugh just by making a face of teenage horror and yelling “BOOB TOUCH!!! AAAAAGHHHHH!” and I’m pretty sure my sister can do the same. It’s one of my favorite Fons sister stories.
What do you think, sis? Did I get it right?
**I’m sure that annoyed us both, but as I think back on it now, I feel a sweet pain in the general vicinity of my solar plexus; I’d give a lot, actually, to have a snapshot showing how we shared that room at that time. Did she read in her bed longer than I did? Did we laugh after the lights were off, even a little? I hope so.

Yuri saw George Lucas on Broadway the other day! He had bushy hair and was wearing a pink shirt. George Lucas! How about that.
This post is about a different George: George Michael.
When I was in junior high school, I had a poster of George Michael on my closet door. It wasn’t life-sized — I would’ve been weirded out by an actual man-sized photograph, which says something important about a fourteen year-old girl’s sexuality — but it was full-sized, which I was very happy about. I had to cut a small chunk out of the poster on the right side to allow for the doorknob, that’s how big the poster was.
My sisters and I absolutely adored George Michael, like everyone else did at that time. He was one of the biggest stars on the planet back then and we hung on every syllable we heard him speak on the radio in that British accent (insert insane giggling and squealing here.) The five o’clock shadow, the leather jacket. The aviator shades. The song “Faith” was loved so much by me and the other girls I knew, at some point it ceased being a song and became a person — and that person was the most beautiful, perfect, fun, happy, popular person who had ever existed, ever. We conferred this strange relationship with the song onto the actual person who sang it; ergo, George Michael became the golden calf of the Winterset School System’s entire female population, at least for awhile. This phenomenon was not unique to small town Iowa; this was a craze that swept the nation, this George worship.
But all that time, George Michael was not being himself.
As we would later learn, he hated the pop idol stuff not just because it was extremely weird, but also because he was wearing a terrible, goofy mask while he endured it. A gay man, Michael not only had to pretend he was straight, he had to pretend he was the straightest man who ever lived; a real “lock up your daughters” kind of guy. He had to be a straight girl’s sex symbol rock star, for heaven’s sake, and all he really wanted to do was kiss his boyfriend and sing a duet with Elton John. (That happened later, much to George’s delight.)
After Faith sold 20 million copies and the mask hardened into something truly untenable, George Michael decided to do something about it. Enter Listen Without Prejudice, Vol. 1., released in 1990, when I was about to enter high school. The album is a total 180 from Faith. There are gospel choirs, acoustic guitars, great lyrics, a Stevie Wonder cover, and plenty of downtempo tracks that even I liked at as a jumpy fifteen year-old. Michael refused to use his face on the cover of the record, nor would he allow his face to be in any videos that were released for singles. Crazy, I know. Crazy and awesome.
Freedom ’90 is a track from that album and I believe that it is a perfect song. They do exist, you know, perfect songs, and this is one of them. You can sing to it. You can dance to it. It’s got highs and lows. It’ll give you goosebumps when it hits the bridge, but when you hum it to yourself later, washing the dishes, you might find you’ve got a little frog in your throat because the lyrics are so touching, so real. Look what he says:
“All we have to do now/is take these lies/and make them true, somehow
All we have to see/is that I don’t belong to you/and you don’t belong to me.”
That’s a sincere cry from a man wearing a mask, coming to terms with his life, and that’s a sentiment can get maudlin and lame real quick. But Freedom ’90 is a celebratory wild yawp, sonically. You’ve got a tambourine, cymbal crashes, a dirty “wonka-chika-wonka-chika” funk guitar on it, and “dunk-a-chika-dunk! dunk-a-chika-dunk” beat that from the instant it starts, your booty is moving. It’s the opposite of maudlin, miles and miles away from sog or pity. It’s a great, great song. I watched the video again tonight and was a little bummed that it didn’t hold up quite as well as I thought it would, but the 90s supermodels are lovely in their prime and it’s still awesome to see the guitar, leather jacket, and jukebox from the Faith video blow up a bunch of times.
Interesting note: I have had several boyfriends in my life who had Freedom ’90 in “favorite songs” lists. A boyfriend of mine in college was fond of ska and punk music, bands with names like Choking Victim and Rancid. But I think he knew how good and honest Freedom ’90 really was and he liked it because of that. If punk rock is about saying “I don’t have to be like you, at all” then George Michael was totally punk rock with that song and the whole Listen Without Prejudice album.
You should listen to it. Watch the video later; just listen to Freedom ’90 first, loud as you’re able to. Then listen to Faith. Then sing Freedom to yourself while you wash the dishes and think about what lies you can make true, somehow.
I did that today, and it felt pretty good.



I make art from time to time. I like to put words on things and enjoy using my utter lack of training in computer-aided graphic design to my advantage.
Example: the homepage of my website. I needed new slideshow pictures desperately. I have no web designer on retainer at the moment, nor do I have Photoshop (these things are expensive and I need to pay rent in New York right now.) Necessity is the mother of invention, as anyone with a website and no “web guy” knows, so, faced with a creative challenge, I cobbled together a solution that I feel turned out pretty slick. I used from images from my book, multiplying them and staggering them just so. I like the result. Check it out when you’re done here, if you like.
The humble scanner is a great tool for non art-school people who wish to make art with their computer. The scanner is really a camera, only what you take pictures of takes on this flattened quality because, you know, the scanner is flat and stuff. I started scanning quilt blocks a few years ago (my Twitter banner has been a scanned red quilt block forever) and thought they were just rad-looking; there’s a milky quality to fabric when it’s scanned, and all the threads seem magnified and all the rips are suddenly centerstage. I love it.
This weekend I did some scans, this time with messages and fabric from my stash with some patchwork thrown in for fun. Examples above of what I call “Patchwork Foto.” That’s what these sorts of pictures are called, I’ve decided. It’s like “ramen.” Singular, but it has lots of pieces. It’s art! You gotta name it funny.
I’m breaking the “one image only” rule for PaperGirl but the exception proves the rule and besides, this is a series. Watch for more of these and the development of them. They’re part of a larger project.

Happy Labor Day.
The U.S. Department of Labor tells us that in 1887, there were five forward-thinking states that voted to observe a newfangled thing called “Labor Day.” Among those five states: New York. Perhaps that’s why everyone has been so crazy in the city this weekend; I’m sure everyone living here knows New York was an early adopter of Labor Day and the knowledge has made them drunk on power. And alcohol.
Before I get to the story about nearly stepping on two kids making out in my apartment building last night, a terrific quote from one Mr. Peter J. McGuire, general secretary of the Brotherhood of Carpenters and Joiners back in the early 1880s. McGuire was a cofounder of the American Federation of Labor and he is credited by many as being the first to suggest there oughtta be a day to honor those “who from rude nature have delved and carved all the grandeur we behold.”
I think that’s pretty well-said, don’t you? “Who from rude nature” and “delved and carved” are downright snazzy, son. And he’s right, too: We do behold grandeur, all over the place, all the time. If you don’t see it, you should clean your glasses.
Now, about stepping on these kids.
Several of Yuri’s friends were in New York to attend the U.S. Open and we went out with them last night. It was very, very difficult for me to wrench myself away from my sewing machine (I’m working on entering a quilt in QuiltCon this year) but I delved and carved myself into a Roberto Cavalli dress that made me feel like a real kitten and I got into the mood. I checked my diet rulebook and, to my delight, found that tequila is allowed. I had two modest servings of Don Julio on the rocks last night and nothing horrifying occurred. Good news for my guts and my brain, which was starting to feel a little “all work, no play.”
We taxied to a place. We danced. We clinked glasses with friends. We moved to another place. There was revelry. But not surprisingly, I was ready to go home before Yuri was ready. There was no drama in this. We’re reasonable people and we have different thresholds and clocks and such.
“Honey, I think I’m gonna dip!” I shouted over the boots-cats-boots-cats music throbbing through the speakers somewhere deep in the Lower East Side.
“What?” Yuri turned his ear toward me. An extremely enthusiastic Puerto Rican girl who wasn’t an inch over five feet tall careened past us and slammed into a man I hoped was her boyfriend. Splash.
“I’m gonna take off! I’ve had fun! I’m good! You stay out!” Behind me, a hand rested lightly on my waist. I realized it was not Yuri and gave the man behind me a filthy look; he retreated.
Yuri gave me a look of “I don’t want you to leave” but, being a reasonable person who knows me by now, said, “Are you sure?” and when I nodded vigorously, hugged me tight and said, “Okay, baby. Let’s get you a cab.”
When I got home, I had a dickens of a time getting the front gate open. I was at it for 10 minutes and when I finally got in the door, I was elated. It was nearly two in the morning and I was in very high heels. I was so happy, I didn’t mind that I nearly stepped on two youngsters in flagrante on the floor. Right there, on the floor of the building, at the foot of the stairs, laying on top of each other and vigorously making out, was the son of my landlord and a cute little blond gal.
“Oh! Uh, sorry,” I said, and waited for them to sort of roll out of my way. I needed to go up the stairs.
“No, we’re sorry,” said the young man, and kind of smooshed his way over to the side. I can’t verify it, but I’m guessing they had been drinking. An iPhone fell out of the girl’s pocket and I barely missed stepping on that. I’m telling you, they were lying on the floor! The landlord’s kid! And some girl who looked like she just had her sweet sixteen! A Labor Day scandal!
“Watch your phone, there,” I said, and I couldn’t help but smile as I made my way up the stairs. I thought about those kids — they were maybe college freshman-age? younger? — and how different their lives are from mine. I mean, this apartment building is really pretty amazing and the young guy, his dad owns it. In New York City. It’s huge. It’s pre-war. It’s a stunning place, with art all over the walls and vaulted ceilings. No wonder the landlord’s kid can nab the cute blondes, you know? He’s got game. My make-out sessions in high school (which totaled about four, by the way) took place in cars or cornfields. Same planet — but you know what they say about the worlds.
Enjoy your four-day work week, you crazy New Yorkers. And me, and you. Let’s all enjoy the grandeur of the week however many bodies we have to step over as we labor.

Yuri and I went to the Whitney Museum yesterday for the Jeff Koons retrospective. We loved every second of it. If you are in New York now or will be between now and October 29th, I urge you to see the exhibit yourself.
Maybe don’t take your kids if they’re under thirteen or fourteen. There are a few moment of technicolor nudity writ real large in the show and that could be disturbing for a kid, I suppose (probably more so for the adult who has to answer the inevitable questions, e.g., “Why are that man and that woman stuck together like that, Mommy? Is she crying?”, etc.) But there’s so much that a child would absolutely go nuts for, though — the giant pile of clay, the inflatables, etc. — it’s painful to actively dissuade families. Maybe just skip the fourth floor of the show where all the porny stuff is?
Here’s what the Whitney says about Koons:
Jeff Koons is widely regarded as one of the most important, influential, popular, and controversial artists of the postwar era. Throughout his career, he has pioneered new approaches to the readymade, tested the boundaries between advanced art and mass culture, challenged the limits of industrial fabrication, and transformed the relationship of artists to the cult of celebrity and the global market.
That means he’s really cool, he’s super smart, and his art is very, very expensive. A lot of people cannot stand Jeff Koons (or his art) for those very reasons. Koons haters have long hauled out the tired, meaningless, “That’s not art,” defense, or — worse because it’s incorrect — they’ll sniff, “I could do that.” You couldn’t. Neither could I. You could make your art. And I could make my art. But Jeff Koons’s yacht-sized balloon dog (or the glorious, exuberant, first version of “Puppy,” made of 20,000 live flowers, which wasn’t at the show because it was an installation in a castle in Germany in 1992) is his art and I, for one, think it’s marvelous.
The “readymade” that they reference in the Whitney bit is the Warhol thing of taking a box of Brillo pads, for example, and putting it literally on a pedestal and saying, “This is art.” Now, Warhol got that from Marcel Duchamp, who did it first: Duchamp was a koo-koo-krazy Dadaist who put a ceramic urinal on a pedestal, signed it “R. Mutt,” and sat back to see what the art world would do. That was in 1917 and art has not been the same since. Plenty of folks (then and now) wished art would go back to nice, simple paintings, but that is silly because there has always been transgressive art. Gericault’s The Raft of the Medusa, Manet’s Olympia — today, these paintings are downright tame (albeit beautiful and kinda creepy in their respective ways) but when they were unveiled, they were not. People lost their minds and said the world was going to hell in a handbasket. Under the sun, there is nothing new for us. You do get that, right? I am reminded all the time.
If you want nice simple paintings, you can get them. Boy, can you get them. But for those who want their art to reflect back the world as it truly feels — fractured, splintered, beautiful, hilarious, ridiculous, frightening, etc. — we need our Koonses, our Duchamps, and our Warhols for sure. The Koons exhibit reminded me that the world is all of the things I think it is, but more, so much more than that as well: more frightening, more beautiful, more unknowable. It did precisely what art is supposed to do.
And you know, boobs and plastic and stuff.
**Editor’s Note: The title of this post is a line from a Lady Gaga song. Gaga’s latest album, “ARTPOP”, features cover art by Jeff Koons. I have listened to that album so many times, my iTunes is like, “Oh for heaven’s sake… REALLY?? AGAIN with the Gaga???”