Three Truths and a Lie: Amber Tamblyn's Lindsay Lohan Poem Edition
So, did you guys know Amber Tamblyn (Community, The Sisterhood of the Traveling Pants, Inside Amy Schumer) is a published poet with a couple of collections already under her belt? And since you’re so smart, did you also know she just published her third book of poetry, Dark Sparkler, which includes a page dedicated to none other than Lindsay Lohan? On this, one of the few occasions you might ever find me writing a word about LL (I like poetry and AmTam), I challenge you to figure out which of these excerpts is Tamblyn’s message of honor to Miss Photoshop herself, Lindsay Lohan. Absolutely NO Google-or-other-interweb-fu allowed.
1. The Single White Female
“I HATE YOU SO MUCH I FORGOT WHAT I WAS TALKING ABOUT.
WHO WANTS TO GET MEXICAN FOOD?
JAY-Z DO SOMETHING!
I am the single white female of
2. The Blank Page
3. The Empty Skull
“When you find a skull in the woods, do you leave it alone because it disturbs you or do you leave it alone because of what’s still living
4. The Abyss
“I do not look into her ocean, The fish there float to the bottom. I fear I’ll go down there too, identifying with the abyss. Washed up. Banging on the back door of a black hole.”
There does seem to be a running theme through Tamblyn’s words; emptiness and death, as it relates to Hollywood and actresses living and dead. There’s an interesting tidbit here, so after you make your guess, scroll on down and swipe to highlight the correct Lohan excerpt.
Answer (highlight to read): I discovered today that Amber Tamblyn and I have exactly the same thing to say about Lindsay Lohan: zero, nada…nothing at all. However, we have very different reasons. While my silence is due to a complete lack of interest (other than to marvel at this brilliant poetic interlude), as explained by Tamblyn, she’s inviting Lindsay to write her own page. While your takeaway might be that to put Lohan as the only living subject among the rest of the book’s tragic souls (Brittany Murphy, Dominique Dunne, Frances Farmer, Dana Plato) is morbid, upsetting or sad, it could read — Tamblyn notes — as funny (?) to someone else.
“I read it out loud once, that page in the context with a couple of pieces, and everybody laughed, and it was so upsetting for me that I told myself I would never do it again. I did not think people were going to laugh. I thought it would really strike a cord, but I know that is also how people process things when they are uncomfortable.
I did not put that in there to say, ‘You’re next.’ I put that in there to say, ‘I am not going to do you what everyone else does,’ which is write a poem about your life — which is not my life. I am not going to project onto your story. I am giving this back to you to write. This belongs to you. Your poem has not been written yet, and it belongs to you. It’s less a statement that she deserves to be grouped in with a bunch of dead women and more of a statement of she deserves to be in there because she is treated like those dead women already; she is treated like she is already dead. Everyone has their own take or different feeling about it.”
So, there you have it, folks. Poetry in motion.
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