If this doesn’t get Tom to watch Empire, I don’t know what will. The meme convergence is sooo strong!

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Maybe my favorite passage in the book, and perhaps Lena Dunham’s too seeing as she did something very similar in last night’s season four finale of Girls. July thanks Dunham as an early reader of The First Bad Man, so the similarity seems more like a truly lovely homage than mere coincidence.

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So Renesme of Caroline and Laird. Except that nothing in the history of the world is as offensive as Renesme.

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This scene was one of my favorites in all of Girls, and reminded me so much of one of my favorite scenes in Miranda July’s The First Bad Man. The narrator Cheryl Glickman sits with a premature baby still on the cusp of life and thinks:

“That’s what living is; you’re doing it right now as much as anyone. I could tell he was deciding. He was feeling it out and had come to no conclusions yet. The warm, dark place he had come from versus this bright, beepy, dry world.”

“Try not to base your decision on this room, it isn’t representative of the whole world. Somewhere the sun is hot on a rubbery leaf, clouds are making shapes and reshaping and reshaping, a spiderweb is broken but still works. And in case he wasn’t into nature, I added: And it’s a really wild time in terms of technology. You’ll probably have a robot and that will be normal.”

Seeing as Dunham has a blurb on the cover of July’s book and July thanks her as an early reader, she definitely read this passage. I like to think Dunham saw the power of that moment and consciously chose to recreate something similar here. The doubling further links her and July as artists and Hannah and Cheryl as characters who expand our notions of how adult women grow and change.

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Worth reading the whole thing. All hail Kerry.

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Barnett explores the connections that come from a physical and personal closeness. She invites the listener – a partner or friend – to engage in some of our most personal activities such as swapping clothes, being together “all night”, cooking dinner, leaving “shoes at the door”.

The concept of this as a club emphasizes that these activities are done between her and her friend to the exclusion of all others. Indeed, the fact the club is anonymous suggests that it has no purpose other than the exclusion of others to bring her and her friend closer.

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In this song, Barnett explores malaise, routine, and her difficulty escaping her own discomfort.

The song’s central symbol – breath, and its deprivation – precipitates in a literal event, an acute “asthma attack,” which artfully doubles as a metaphor for panic or anxiety that comes along with life’s routines and cycles. In the song, Barnett’s inability to breathe takes hold just as inspiration has struck.

Narratively, Barnett’s persona struggles initially with feelings of helplessness and perhaps depression, only to feel inspired by her neighbour’s honest enjoyment of her garden.

However, when Barnett attempts to share in that inspiration and enjoyment, the sudden onset of an asthma attack sends her back to stating she “should’ve stayed in bed today” and “prefers the mundane”.

Her failure to capitalise on this inspiration leads her to internalise her problem. No longer is she facing a momentary attack (I’m having trouble breathing in) but by the end of the song, she herself is flawed at a deeper level (I’m not that good at breathing in).

The title “Avant Gardener” is a play on the phrase “Avant Garde” – meaning out of the ordinary/unique/strange, and “Gardener” – as the song discusses using gardening as a way to escape from your own thoughts. Put together, “Avant Gardener” represents how a normal (or even bland) day of gardening drastically changed.

The term “Avant Garde” comes with certain connotations of underground music and the ‘80s/'90s grunge scenes, which the alternative vocals and themes of this song complement.

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This upbeat song, borrowing heavily from 50s tremolo-laden surf sounds, records Barnett’s attempts to impress a fellow swimmer at a public pool.

The song’s title – a misspelled version of acqua profonda, the Italian words for deep water – makes clear that the pool referred to is the Fitzroy Pool in the inner city suburb of Fitzroy. The Fitzroy Pool is a popular place with the young students and artists who reside in Melbourne’s inner northern suburbs, who often swim at the Fitzroy Pool on days of extreme heat to escape the heat of their non-air-conditioned sharehouses.

The sign is written in Italian and English because the suburbs of Fitzroy had a large population of Italian, Greek and other European migrants in the years after World War 2. This demography is now changing, and the inner suburbs are increasingly populated by the very segment of society that Barnett often sings about.

The sign reads “Aqua Profonda” but should read “Acqua Profonda”. One could say Barnett misspelled this misspelled sign again as “Aqua Profunda”, but it’s more likely that Aqua Profunda isn’t misspelled Italian, but Latin. “Aqua profunda est quieta” is a Latin proverb, translated as the English proverb “still waters run deep”.

This sign has a history of cultural reference in Australia. The 1977 novel by Australian writer Helen Garner famously titled its first chapter Acqua Profonda. That book also concerned young inner city residents of the surrounding suburbs of Fitzroy and Carlton, but involved much darker subject matter of the difficulty of maintaining a relationship with a heroin addict.

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