Tag: writing

  • Kingdoms of the Radio: Zongo Khumalo 4

    UNFINISHED DOCUMENTARY, KINGDOMS OF THE RADIO  |  1995

    Once we decided to renovate Girassol, I figured I ought to let Mrs. Chaves know what was going on; that way if we ran into a hassle, we would be coming from a place of righteousness.

    I had to go into town and call her from the payphone at Sammy’s. Once I told her that the big house was still standing and in amazingly good condition, she actually wept on the phone. I told her the other buildings were a loss, but she was cool with us building some new ones. There was no electricity out to the property, but the gas lines were somehow still intact and the same company that provided it back when Mrs. Chaves lived there was still around.

    I got her to call the company and let them know that she now owned the property and wanted the gas back on. They said it might take a while since they would have to check the hookups, but it would be all right to put it in my name so that we could pay the bill. In the meantime, we had plenty of firewood from the tear downs.

    In fact, when we finally finished loading in all of the salvaged building materials, a girlfriend of Enrique’s brought out a jug of morning glory wine she had made and we had a huge bonfire.

    The acid-like effects of morning glory seeds was one of those things I had always heard about but never tried as they had a bad reputation for making you really sick as well as really high. For me, there’s nothing worse than losing your lunch while tripping balls, but this chick had figured out a way to extract the good shit and filter out the part that makes you nauseous.

    We were all tired from schlepping salvage all week but also had the mellow feeling of a job well done. We built a big pile of lumber we knew we couldn’t use again and all took a big drink of the wine. She called it wine, but had actually used Everclear in her process so it packed a punch like a smack from a bat.

  • Kingdoms of the Radio: Charlie Perigo 4

    UNFINISHED DOCUMENTARY, KINGDOMS OF THE RADIO  |  1995

    Once we put the word out on the street about what we wanted to build, it was amazing how quickly it caught on. There were a lot of heads that had been at loose ends, which was causing them heat in some of the small towns around the Bay Area. Small towns? What am I saying? They were all small towns! Still are, when it comes down to it. At least in the head.

    A boonie rat buddy of mine named Ikaia Keala—we called him Sticky Icky in-country—used to do under-the-table construction jobs around the county and had somehow pulled the gig to dismantle the buildings on a crumbling old resort. I think local kids kept breaking in and the county was afraid of getting sued if some drunk teenager got himself parboiled in the hot springs.

    Sticky said that we could have the salvage if; one, we helped him take it all apart, and, two, if we got it all the hell out of there. You should have seen the ragtag caravan of pickups, flatbeds, vans—whatever we could get our hands on—heading further up into the woods once we finished tearing those places down. We were like an army of ants all carrying pieces of some giant dead bug back to the nest.

    We hadn’t had time to improve the way in, and there had been some genuine—and well considered, in my opinion—arguments against it. It would be harder for the county to sweep in and hassle us if we left the road impassible, so it ended being up to me to lift the salvage up and over the tangled growth with the chopper. It was really weird, I felt like I was back in ’Nam again, helping to establish an LZ.

    Once a stick, always a stick.

  • Kingdoms of the Radio: Police Chief Warren Burton 1 [fiçcão]

    UNFINISHED DOCUMENTARY, KINGDOMS OF THE RADIO  |  1995

    Of course I remember when that so-called rock star disappeared in San Francisco. I still had some friends on the force out that way. You can’t believe the stories they used to tell me; drug addicts from all over the country pouring in to the City and the city government refusing to deal with it.

    How would you like it if you got up to go to work one morning and some filthy young runaway was breast-feeding her malnourished baby on your front stoop?

    Girassol? That was something else entirely. At least we had them all in one place; out of the way. It was almost like they sent themselves to their own refugee camp.

    It worked for a while, but I’m getting ahead of myself. This SFPD friend of mine that I knew in Korea got the call that night of a possible drowning out at Ocean Beach. That strip has a notorious riptide, especially around ebb.

    The way my buddy explained it is there are billions of gallons of water that come pouring out of the Bay between high and low tides and it meets an unbelievably massive wall of sand just outside the Golden Gate which shoots the water both north to Marin and south to Monterey. Get caught in that and you’d be wishing you fell into a Mixmaster instead.

    He got a call that some morning joggers found a paint-spattered pair of coveralls that matched an APB for a possible suicide. It was Lucious Cole. The two yahoos that were supposed to be taking care of him called it in, saying that he had been talking about ending it and had somehow gotten away from them. Of course there were drugs involved. That’s no real surprise, is it?

    They never did find the body. After a while, everyone just figured that Cole ended up shark food and called it a day.

  • Kingdoms of the Radio: Zongo Meets The Stick (Pt. 2) [ficção]

    POINT ARENA, CALIFORNIA  |  1971

    “What about you, man? So, you’re a cook?”

    “Shit,” Khumalo groused, as he grabbed the passenger assist grip, “I was a cook. There was an… incident this morning. With a goose.”

    “OK, now you have to tell me,” Perigo laughed as he downshifted and swung into a turnout at an inappropriate speed and vector.

    “Fuck this thing,” Khumalo pulled the scratchy polo up over his head and tossed it into the weeds on the side of the road. “There was a wedding party this morning. I was cooking my ass off as my prep neglected to make it to work. All of a sudden, the bride’s mother comes barging into my kitchen. A sacred space.”

    “Amen,” Perigo sympathized as he rooted around in the center console for a cigarette.

    “This broad starts yelling about how this Canada goose took it upon itself to join the festivities, uninvited, and was now honking up and down the rows of friends and family pecking at ankles and shitting all over the place.”

    “Sounds like a goose, alright.”

    “That’s what I said! ‘That’s what they do, lady. What do you want me to do about it?’ That’s when the owner pops his fucking head in… again, his place, my kitchen.”

    “I can see where this is going.”

    “Both of them started tag teaming me about how this goddamn goose was ruining the wedding and somehow it was my job to fix it.”

    “What did you do?”

    “What could I do? I put the chowder on low simmer and went to out to deal with it. By this time, the whole ceremony had come to a halt and everyone watched as I tried to shoo the fucking bird off the deck. To it’s credit, it had moves. Every time I got it going toward the gate, it would pull a head fake and scramble past me.”

    “Daaamn.”

    “I finally cornered the bastard against the railing and it tried to bite me, so I got a hand around his neck and my other arm around his body and and tossed him over into the water.”

    “Power move.”

    “That’s what I thought. I was ready to go back to the kitchen when all of a sudden the wedding party turned into an angry mob. Apparently, the goose—somehow forgetting that it knew how to fucking fly—hit the one concrete piling sticking up out of the water. Knocked it cold. The crowd started calling me ‘goose killer.’”

    “They did not.”

    “Like it was my idea to come out and dance with the fucking thing! I told them all to kiss my ass.”

    “An understandable response.”

    “A-fucking-men. So, here I am, an ex-cook.”

    “I’ll drink to that. Sounds like you have the day off, I’m buying.”

  • Once More Into the Breach: 2026 Edition

    It turns out that “May you live in interesting times,” is not a Chinese curse after all, but rather—like most things that seem all neat and tidy but end up causing wide-spread pain and misery—from the English: Austen Chamberlain, older half-brother of Neville to be precise.

    Austen’s mother, Harriet, died in childbirth, resulting in his father not speaking to him for a quarter century, and in the interim, marrying the woman’s cousin, Florence, who birthed the infamous Prime Minister, so… yea, I get it.

    As we head into a year sure to be more challenging than a Chamberlain family reunion, it is going to be important to keep our wits about us. I am sure that TFG* will continue to daily operate in a way that offends any- and everyone who is not a sadomasochist. Whether he and his cohort are motivated by spite, madness, greed, or some other affliction is immaterial.

    The trick for us is to not rise to the bait of every single malaprop-laden rant or misspelled-digital screed. I will be there in the voting booth, the streets, the barricades if need be, but it does no-one any good to wear out their dopamine receptors in a constant orgy of outrage.

    There are things that I can do to ensure that I make it long enough to see this episode through to the credits, however, things to maintain mind and body at a healthy-enough level that I don’t blow a gasket when it’s time to step on the gas.

    These are mine. I suggest that you find your own and try to implement some sort of strategy to keep the knees—or if you are one of our unfairly maligned friends to the north—elbows, up.

    1. Write everyday. Somethings will be crap, a few things half-clever, but there is always the outside chance that there may just end up being something worth sharing from time to time. Doing it more will only help that to happen. Writing is also good practice at gathering one’s far-flung thoughts and distilling them down to a coherent mindset, something that most definitely will come in handy this year.
    2. Cut down on drinking. Drinking beer does not lead to a coherent mindset, it leads to… I don’t know, more beer drinking? At this point, it doesn’t even lead to bad decisions, unless napping is a bad decision.
    3. Get in shape, you fat fuck. Number two will help, number one… not so much.
    4. Play more guitar. You should be playing everyday, and not the same old shit. There is an unending supply of free online lessons, take advantage. Music helps the brain build new connections and, let’s face it, helps to blow off steam.
    5. Who knows what the hell the economy is going to do, so you should be ready. Get those costs down. Cancel all the subscriptions that you don’t need. Pay off the credit card. And for Christ’s sake, get your resume in order.
    6. This should go without saying, but be kinder to yourself and others. (I’m sorry I called you a fat fuck, you fat fuck). They call it a practice for a reason.

    *This Fucking Guy

  • Kingdoms of the Radio: Down on the Mission [ficção]

    MEMORANDUM FOR: THE RECORD
    SUBJECT: Project MKULTRA, Subproject 3

    1. This project will involve the realistic testing of certain research and development items of interest to 
Chemical Division/Technical Services Staff.
    2. During the course of research and development, it is sometimes found that certain very necessary experiments and tests are not suited to ordinary laboratory conditions. At the same time it would be 
very difficult, if not impossible, to conduct these as operational field tests. This project is designed to provide discrete dedicated facilities to fill this intermediate requirement.
    3. This project will be conducted by REDACTED. Certain support activities will be provided by CD/TSS, APD/TSS, and when necessary, local law enforcement personnel.
    4. The total cost of this project for a period of one year will not exceed REDACTED.


    REDACTED
    CD/TSS

    APPROVED:
    REDACTED
    Chief, CD/TSS

    APPROVED FOR OBLIGATION OF FUNDS:
    REDACTED
    Research Director

    Date: 11 November, 1971

    SAN FRANCISCO, CALIFORNIA  |  1971

    Carol Davidson parked the 1963 Volkswagen Beetle she had been saddled with by the agency on Bartlett Street, around the corner from their clandestine office on Mission Street. Driving the drafty German “people’s car” always put her in a foul mood, but she couldn’t be seen cruising around in her own Mercedes-Benz 280S, especially when she was supposed to be a penniless 21-year-old hippie girl. Just the look of satisfaction on her face as she floated by in a luxury leather seat with more springs than a Barcalounger would surely raise an eyebrow from her supposed cohort.

    Davidson took a moment to look around the regularly busy neighborhood street before using her ID card to unlock the unmarked office door, another anomaly that would be hard to explain to anyone unfamiliar with the new technology. As soon as the door closed, sealing off the ubiquitous thrum of the Mission District in full midday bustle, the sound was replaced by another, more abrasive noise: the sound of her angry superior.

    “Davidson,” the orotund voice rattled the framed portrait of Richard Milhous Nixon hanging in the entry hall. “In my office. Now.”

    The woman took a beat to leave her purse at her assigned desk, strategically leaving her weapon behind on the long walk to the Operations Officer’s lair, lest she feel like putting a bullet in his fat head, or one in her own if she had to endure his post-lunch onion breath again.

    As soon as she crossed the threshold into what Urban Wyrzykowski had curated over time from a faceless bureaucratic office into something resembling the burrow of a large animal—which now that she thought of it, was exactly was it was—she was hit with a miasma of stale cigarettes, sour sweat, and… yes, onions.

    “Shut the door behind you,” Wyrzykowski belched.

    “Shut the door?” Davidson protested, giving a performative half-turn back toward the empty office. “Nobody works here but me and you.”

    “The door.”

    “Shit.”

    “Shit is right, Davidson. Would you like to explain how you ended up overdosing a very famous British subject, leading to his apparent suicide?”

    “Oh, that.”

    “Yes, that, goddamn it!” Wyrzykowski’s face empurpled.

    “Well, you see, it was really quite clever,” Davidson jumped into the deep end of the story, figuring that she was drowning either way. “It was simply the old magician’s trick of misdirection. When I blew a giant hit of some pretty good Acapulco Gold into his mouth, I gave him a quick injection of the substance.”

    Wyrzykowski sat silently rubbing his temples as if trying to coax enough blood into leaving his skull so that he might black out and not have to listen to the woman’s story for a moment longer. After a pregnant pause, he opened his desk drawer and removed a orange plastic prescription bottle and began to wrestle with the new child-proof cap.

    “Would you like me to help you with that, chief,” Davidson asked as innocently as she could manage.

    “Would I…? Fuck!” Wyrzykowski resisted the urge to throw the pills across the room and carefully placed them out of Davidson’s reach.

    “May I ask you a real question, Agent Davidson?”

    “Shoot.”

    “Would that I could,” the beleaguered senior agent tented his stubby fingers and stared at his single charge. “Are you trying to kill me?”

    “Sir?”

    “I’ll ask you again,” Wyrzykowski straightened in his chair, falling back on the well-worn interrogation skill set that got him into this mess in the first place. “Are you actually trying to kill me?”

    “Not in anyway that anyone would suspect,” Davidson allowed. “Or be able to prove.”

    “I see,” the man eased a bit, now that their relationship was finally coming into focus. “It’s like that.”

    “I would say that is isn’t personal, sir,” Davidson eschewed any hint of remorse, “but, you see, it kind of is.”

    “Agent Davidson, sometimes I can’t tell when you are kidding.”

    “Agent Wyrzykowski,” the woman sighed, “sometimes I can’t tell either. Isn’t that the gig?”

    “About the Brit,” Wyrzykowski changed the topic, at this point not really caring if the crazy broad wanted him gone or not, “is he really dead?”

    “Lucious Cole?”

    Wyrzykowski began to chuckle, realizing that the agent’s plan was probably to make him want to kill himself before their conversation finally found its finish. “The same.”

    “He is safe as houses, as they seem to like to say.”

    “Are you going to enlighten me as to his current whereabouts?”

    “OK,” Davidson rubbed her hands together in misplaced glee, “I know this opportunity just kind of fell in our laps, but I do have a plan.”

  • Kingdoms of the Radio: Tibetan Bells & a Bird from Hell [ficção]

    BOONVILLE, CALIFORNIA  |  1995

    Joaninha pulled her 1982 Honda Accord up to the high curb in front of the Boonville Mercantile and killed the engine. The weary mid-size sedan, however, had its own ideas and continued to diesel as if it was having an epileptic fit as the young woman gathered up the items that rattled out of her purse on the bumpy drive over from Ukiah.

    She was glad that she was almost finished with making the daily trip over to the college, but wasn’t looking forward to sinking money that she didn’t have into the aging car to ensure that she could achieve escape velocity from her hometown. Graduation was coming up fast and Joaninha was hoping that the Accord and her journalism degree would get her at least as far away as the East Bay, maybe Humboldt County.

    “Just a moment!” A cheerful voice from the Mercantile’s backroom called out as she triggered the tiny bronze Tibetan bells hanging on the shop’s front door.

    “It’s just me,” Joaninha called back. “I can take over if you want, Mom.” The familiar earthy smell of Nag Champa incense filled her senses as the stress of upcoming finals melted away, at least for the moment.

    “Sera, thank goodness,” a lively gray-haired woman in her early 50s bustled out from the stockroom, wrestling herself into a wool sweater as she walked. “Where is Kiḍa today?” Joaninha’s mother asked, using her native Marathi translation of a name she found, frankly, ridiculous.

    “He drove over the mountain today, mom. He is finally starting the interviews for his project.”

    “I don’t know why your boyfriend wants to talk to those idiots,” an old-timer shopping with a female eclectus parrot on his shoulder chimed unbidden into the conversation.

    “I don’t remember asking your opinion, Floyd,” Joaninha’s mother snapped, long having had enough of the local’s morning commentary on everything from the weather to Bill Clinton’s recent remarks on the Oklahoma City bombing.

    “Hey, I’m just saying…” the man replied. The bright red and purple parrot, uncharacteristically, was silent on the matter.

    “That’s your problem, Floyd,” the woman pointed out, “you are always ‘just saying!’ Why don’t you keep your trap shut for a change.”

    “Keep your trap shut! Keep your trap shut!” The tie-dyed-colored bird joyfully joined in the dialogue.

    “You should follow the advice of your feathered friend, Floyd,” Mrs. Joaninha advised as she grabbed her keys to leave. “Between the two of you, she’s the only one with any sense.”

    This last parry finally brought a moment of quiet to the Mercantile as the parrot bobbed up and down on Floyd’s shoulder in silent agreement.

    “Where are you running off to, Mom?” Joaninha asked as she punched the No Sale key on the ancient cash register. “It looks like we have enough change in the till to take care of the afternoon rush.” She raised one eyebrow toward the store’s one customer now that her Mom was finally done berating him.

    “I need to go drive your father to the clinic,” the woman explained, speaking back over her overtly parrotless shoulder as the bronze bells tinkled again. “He was in the wood shop and chopped off a finger or something, I don’t know. You know your father.”

    “Mom! How long ago did he call you?”

    “Don’t worry, mulagī,” the woman dismissed her daughter’s fears out of hand. “Your father is such a drama king. I’ll probably be right back.”

    “Shut your trap!” The parrot called out in farewell.

    “What can I do you for, Mr. Anderson?” Joaninha made the decision to not worry that her father might be bleeding out on the floor of his shop.

    “Just the usual,” the man sighed as he hefted a ten-pound bag of Roudybush bird pellets onto the counter. “I’m serious, you know. I don’t think your man should be out there kicking over rocks that are better left undisturbed.”

    “Well, for starters, he’s not ‘my man’, Mr. Anderson, but I’m sure that he would appreciate your concern. That’ll be four dollars.” Joaninha took the fiver proffered from her customer and hit the till, handing him back his change. “TK’s a big boy, he can take care of himself. I think it’s important that he works through his abandonment issues while he’s still relatively young.”

    “Is that what he’s up to?” Anderson asked, the parrot leaning in to hear the response. “Those cultists didn’t abandon your man, the State had to go in and take him away before those cult dummies killed him!”

    “TK says Girassol was a commune, not a cult,” Joaninha said, now thinking back to her own misgivings about the project. “I’m sure that everything will be fine.”

    “Commune, my ass!” Anderson snorted. “You just tell that boy to watch his six.”

    “I’ll do that, Mr. Anderson. You have a good day, now.”

    “Commune, my ass! Commune, my ass!” The parrot repeated as the pair retreated. “Commune, my ass!”

  • Kingdoms of the Radio: Serafina’s Gift [ficção]

    UKIAH, CALIFORNIA  |  1995

    The Kid zipped up the ripstop nylon track bag he had just stuffed with everything he would need to conduct the interviews to complete his Senior film project. He had just spent the morning checking out one of the college’s brand new Sony DCR-VX1000 video cameras upon penalty of slow and painful death. He had also mortgaged his soul to the drama department for the use of one of their portable lighting rigs. If he failed to bring it back, he would be damned to be cast as Idiot One for whatever production called for protracted humiliation for the foreseeable future.

    On a whim, he had started out creating a documentary on his name. First name: The; last name: Kid. His unusual appellation had caused equal parts confusion, intrigue, and downright hassle in his twenty- four years, but it wasn’t until he started digging into the origins of his name, that the strangeness of it really began to reveal itself.

    The Kid, or, as he preferred to be called these days, TK (which at least teased the possibility of a name to be named later), had been born on one of the most notorious Mendocino communes of the early ’70s. From an early age, he had been told that his parents didn’t want to propagate any moribund Judeo-Christian mythologies by giving him a handle that echoed the very values they were trying to eschew.

    When Child Protection Services finally showed up, wondering why the child was not only missing from the closest school roster, but from any such registers, they had scribbled his no-name into the blanks where it remained even after they finally hauled him away from the wreckage of his parent’s utopian project.

    A knock on the door of his rented bedroom broke The Kid’s reverie. Serafina Joaninha, a young woman who often felt that she had more name than she knew what to do with, entered without waiting to be invited and asked the very question he had been putting off asking himself, “Are you ready for this?”

    Joaninha was a startling young beauty of Portuguese and Goan extraction, and The Kid was routinely unnerved by the way she always just seemed to appear when he was thinking of her. Of course, he did think of her a lot. The two met cute in a Mendocino College film class, the pair being the last two cinephiles sitting through a screening of the 1932 Danish film, Vampyr.

    The Kid, having been mesmerized by the slow-moving, dreamlike movie, hadn’t noticed Joaninha sitting next to him until the final frame. When he finally turned, for a moment he thought the Polish actress Rena Mandel had somehow escaped the screen and had joined him in the dark. Joaninha had the same uncanny dark eyes and doll-like mouth as the character of Giséle. The fact that she was wearing an antique lace-collared black dress only added to the illusion.

    “I got you something, Ken Burns,” Joaninha plopped down on The Kid’s unmade bed, giving the bag of equipment a little bounce while perfectly sure The Kid wasn’t going to complain, having long acquiesced any agency in her presence. She had originally been flattered by his look of disbelief that he was lucky enough to be noticed by her but was growing tired of The Kid’s tendency to put her on a pedestal.

    Perhaps when he finished his damn documentary, she thought, he would finally gain the confidence to realize his own worth. Joaninha was willing to wait a little longer, but she wasn’t interested in being worshiped. She had enough self-awareness to know that if they were going to make it, they would need to be equal partners in the relationship.

    “It’s a clapperboard!” The Kid exclaimed as Joaninha handed over the wooden device she had hidden behind her back. “That’s the one thing I forgot!”

    “I even got you some chalk. What are you calling this opus?”

    “I thought I’d name it after Cole’s final album,” The Kid said.

    “Kingdoms of the Radio, it is,” Joaninha pronounced and proceeded to chalk the title onto the clapperboard. “Let’s kick this thing off right now. Grab the camera.”

    The Kid, excited to start his long-planned project, dug out the video camera and tripod and set them up before the young woman.

    “Scene one apple, take one!” Joaninha announced. “Mark!” With that proclamation, she struck the clapperboard’s striped sticks together and they were both off to the movies.

  • Kingdoms of the Radio: A Prisoner at the Palace (Pt. 2) [ficção]

    SAN FRANCISCO, CALIFORNIA | 1971

    With Shane’s meaty presence gone from the scene, the concrete bunker seemed to close in on the pair left alone for the first time since they left the airport.

    “So…” Rosenda began before being cut off by a recalcitrant Cole.

    “Look,” the fallen star looked down at his bare feet, “I’ve been a right twit, and I’m sorry. For everything.”

    “No, it’s all right,” Rosenda sought to diffuse whatever heartfelt confession was coming her way. If pressed, she actually preferred her musicians to be unrepentant messes. If Cole was going to start blubbering on about how he grew up playing in bomb sites and the like, she may have to pitch him into the lagoon herself. Everybody had their own bombsites to navigate, and it was by living vicariously through free spirits like Cole that made them feel as if there just may be a way out.

    “I can’t do this anymore.”

    “PCP? I think that’s probably a good idea,” Rosenda offered.

    Cole chuckled in spite of being in some sort of obvious torment. “No, not PCP, although, come to think of it, if that’s what that was, it has just made the list. I mean this, all of this. The whole business of fame and art and bullshit.” Cole sat down on an overturned five-gallon bucket and stared at his hands.

    “Come on, Lucious,” Rosenda sought to snap the man out of his funk before she had to slap him. “You’ve got it made. So many people would kill to be in your position. Albert King is opening for you tomorrow night. Albert fucking King!”

    “My position? Do you have any idea what my position costs a person? Did you know I had a wife and a kid?” Cole asked.
    Rosenda was shocked, knowing—and even somewhat admiring—Cole’s roguish rap sheet.

    “No, I guess I didn’t,” she began.

    “You wouldn’t,” Cole explained. “A beautiful little daughter. It doesn’t fit the profile does it? The thing is, I bought the hype and became this Lucious Cole asshole. The wife packed up their stuff and left one night when I was out doing God knows what. And that was that.”

    “I’m sure that she still cares…”

    “No. That was that,” Cole rued. “I’ve been told by her South London gangster brothers that if I so much as phone, I’m a dead man, and I tend to believe them. Sometimes I wish I was a dead man.”

    “Come on, Lucious!” Rosenda exploded. “Get your act together man. So your old lady ran off with your kid, do you think that’s the worst story you could hear within a block’s radius of this place? Let alone in this city? Jesus. You have a gift that helps people forget all the shitty things that have happened to them. Maybe just three minutes at a time, maybe for a few hours; but man, that’s magic. Can’t you see that?”

    “How can I help others forget when I can’t even help myself?” Cole answered her indignation with a primal wail. “I didn’t sign up to be their fucking psychiatrist. I really didn’t sign up to be anybody’s priest. Why do you think I stumble around this shitty planet high out of my mind? I can’t bear being left to my own thoughts. Do you know what that’s like?”

    “No,” Rosenda conceded, starting to feel a little empathy toward the man she had primarily seen as a cartoon rock star. “I guess I don’t.”

    “God bless you, then,” Cole offered, more than a little jealousy creeping into his voice. “I hope you never learn.”

    He began to sing in a mournful tenor, the sound filling the hollow concrete chamber and reverberating until the air was wholly suffused with his song.

    “The wind doth blow today, my love,
    and a few small drops of rain;
    I never had but one true-love,
    in cold grave she was lain.”

    “That’s beautiful, Cole,” Rosenda whispered as the last word hung in the air, a catch in her soft voice. “Is that one of yours?”

    “I wish,” Cole gave a sad snort. “No, love, that song is older than this here fair city.”

    “What’s it called?”

    “The Unquiet Grave.”
     

    The damp cold followed Shane under the colonnade as he returned carrying a bag of ice and a twelve pack of Olympia, which he promptly dropped when he saw Rosenda tied to a wooden chair in the middle of the room. Several bottles shattered when they hit the floor and cold beer seeped out of the carton and pooled on the painted concrete.

    “What the hell happened?” Shane rushed to untie the woman. “Where’s the English?”

    Rosenda had been crying, and Shane naturally thought that it was either from the non-consensual bondage or the thought of what Avidan was going to say when he found out that his star racing pigeon had flown the coop.

    “Don’t worry, Karoline,” he tried to soothe her, “we’ll get him back. They aren’t too many places to hide in this town that I don’t know about.”

    “Forget it, Bear,” she sighed, looking up at him as he worked to undo Cole’s admissible rope work. “He’s gone.”

  • Kingdoms of the Radio: A Prisoner at the Palace (Pt. 1) [ficção]

    SAN FRANCISCO, CALIFORNIA  |  1971

    A heavy drizzle spattered the Lincoln as it rolled through the damp San Francisco night. Karoline Rosenda was silent and still except for periodically twisting around in her seat to check on their charge. A clarion call of Be OK! Be OK! clanged over and over in her brain like a fire alarm, but she wisely kept it to herself.

    Shane, of course, said nothing. Rosenda knew him to adopt the platitudinous “silent type” affect whenever things got tense, and she had to admit, this was bad. Really fucking bad. If Z found out that she had let their star get dosed with dust and subsequently lobotomized by their driver, both of them were going to be looking for jobs. That’s if the dumb son-of-a-bitch lived through this. If he died on them, they were truly fucked.

    It was dicey enough that they were cruising around town with a naked and hogtied British national trussed upon the backseat. God forbid if they got pulled over for something. Rosenda breathed a small sigh of relief that they had the Lincoln. This was San Francisco; nobody was going to mess with a Lincoln Continental with an Irish driver. They might as well have diplomatic plates on the car from the borderless nation of Privilege.

    “Wash going on?” A slurred voice from the backseat made Shane and Rosenda jump. “I can’t moove.”

    “Lucious, listen to me,” Rosenda tried to explain. “It was for your own good, you were going to hurt yourself.” She climbed around to face the beleaguered rock star and searched his swelling face for a sign that he understood. Cole, for his part seemed to be taking in this new information and weighing its merit.

    “Oh, all right,” he ultimately conceded. “Can you untie me now?”

    “Sure…”

    “No,” Shane interjected, “we can’t. Not until we get to our safe house. There you can run around like a chicken with your head cut off all you want. In my car, you stay tied.”

    “Oh, all right.”

    The Lincoln moved with the stealth and purpose of a panther north along Scott past Alta Plaza Park toward the Marina.

    “Are we going to hide him at some millionaire’s house?” Rosenda asked as she watched the buildings get fancier and fancier as they got closer to the edge of the Bay.

    “Just keep an eye on him and don’t worry about where we’re going,” Shane growled. The Lincoln caught the green light and swung left on Lombard, following the sparse traffic along the curve toward the Golden Gate Bridge, before suddenly swerving right onto Lyon.

    It wasn’t until Shane turned past the newly restored Palace of Fine Arts rotunda and parked behind the science center that one of the Oppenheimer brothers had opened in the old exhibit hall that Rosenda began to guess what his plan might be.
     
    Designed by local architect Bernard Maybeck, and built for the 1915 Panama-Pacific Exposition, the Neo-classical structure framed a picturesque lagoon, complete with swans that slowly floated through their private dream world.

    The tableau was designed to echo a decaying ruin, and until the last few years, it had done it’s job extremely well; the wood, plaster, and burlap finally succumbing to the relentless atmosphere coming straight off the Pacific. The City had just finished rebuilding everything in poured concrete and steel, and Shane, who knew everyone from the contractors to the supervisors, had the keys.

    “Hold tight, I’ll make sure we’re sound,” Shane stepped out of the Lincoln and took off toward the museum. Rosenda watched him go, fully expecting the night to end in the cavernous exhibition building. Shane, however, veered off toward the rotunda before disappearing into the fog.

    “Say, sweetheart,” Cole tentatively tried his luck at using his battered charm. “Can’t you loosen this rope a bit? I mean, bloody hell, your friend there is either a cowboy or into some really kinky shit. I can’t feel my hands.”

    Rosenda thought hard about the possible ramifications of loosening Cole’s bonds, then thought about what Shane might do if he came back and Cole was back on the loose. He might not do anything, she realized. It was really no skin off his balls if Cole fucked right off and was never heard from again. She, however, did not have that luxury.

    “Look, Lucious, I don’t care what issues you are working through that make you act like a drunken clown juggling lit torches in a lumber yard, but you are not going to burn down my career.”

    Cole was still trying to muster his faculties enough to construct a pithy rejoinder when Shane yanked open the rear suicide door. He reached into the Lincoln and, without a word, grabbed Cole by a confluence of knots, which invariably made them all suddenly cinch tighter.

    The rock star yelped as he was hauled out of the car and to his feet. Shane silently took his measure, and deciding that the man before him was probably not going to bolt, produced a very large, very sharp, knife.

    “All right, I am going to cut you loose. If you bolt, I’ll catch you, and when I do, I’m going to pitch you into the lagoon,” he explained, pointing with the blade toward the murky, freezing pond that reflected the ornate colonnade and rotunda. “We need to get you inside and find you some clothes. Are you onboard, smart guy?”

    Cole, whose core temperature was dropping fast as he stood buck naked in the fog, only nodded his head enthusiastically.

    It was mere minutes before Shane reappeared and ushered the pair toward an open door in one of the larger columns that held up the soaring Greco-Roman dome. A concrete angel impassively watched over the proceedings as he stood off to the side, making sure that Cole wasn’t going to make a break for it. Once inside, he shut the door behind them, throwing the space into total darkness.

    “Don’t move,” he warned. “There’s a lot of construction tools laying about, and I wouldn’t want either of you to break any of them.” With that, the pair could hear his retreating footfalls moving away from them.

    “How the hell does he know where he’s going?” Cole asked in genuine wonder.

    “Don’t ask me,” Rosenda shrugged in the void. “Maybe he’s a fucking leprechaun.” That garnered a snort from Cole somewhere to her right, which was as close as she could come to seeing in the dark.
    With the sound of a powerful electrical contact being thrown in the distance, a row of flood lamps suddenly bathed the narrow 60-foot-tall room in blinding light.

    Cole, whose retinas had just retracted to the back of his dry skull, recoiled and looked for someplace to hide as if he were a giant cockroach. He didn’t, or couldn’t, see Shane step out of another door across the room carrying a paint-splattered pair of coveralls which he threw to Cole as he approached, hitting him square in the chest.

    “Put those on,” he instructed. “We’re tired of looking at your bony ass.”

    Rosenda, who to that point had been too freaked out by the situation to process that she was basically alone with a musician infamous for his sexual proclivities and prowess, only nodded her head in slight disappointment.

    “Look, Cole, I’m sorry I had to clock you, but I’m sure you’d have rather stayed out of the county psych lockup, and there was no way to reason with you.”

    “It’s all right, mate,” the Englishman acquiesced. “I would have done the same for you.”

    Shane considered the slight musician doing his best to knock him out and laughed despite himself.

    “That shot was ace,” Cole admitted, probing his outraged face with long fingers made for playing guitar. “Is there anywhere around here to get some ice? I’d hate to do the gig tomorrow night looking like I caught the worst of a rugby scrum.”

    Shane thought about it for a moment and ventured he could trust Rosenda to babysit while he popped over to the liquor store on Chestnut. Besides, it was her ass if the fool went AWOL. He could go for a cold one himself.

    “I’ll be right back,” Shane said, surveying the scene as someone coming in off the street might. “If anyone comes by—they shouldn’t, but if they do—you two work for Shamrock Construction. Mick Jigger here, is a painter, obviously, and you…”

    Rosenda lifted one carefully sculpted eyebrow, curious to how Shane saw her fitting into his alibi.

    “You figure it out.” With that, he left the way they came in and dissolved once again into the fog.

  • Kingdoms of the Radio: Enrique Bravocado 3 [ficção]

    UNFINISHED DOCUMENTARY, KINGDOMS OF THE RADIO  |  1995

    That must have been some really good speed. It what seemed like no time at all, Zongo and I had hacked our way through the brambles and were starting to see moonlight coming through the other side. The night was dead quiet except for the hypnotic crashing of surf somewhere far in the distance.

    I was the first to break through the undergrowth and heard the distinct sound of a bullet being chambered. Once you’ve been on the wrong side of that sound, you never forget it. I stopped cold. Zongo, clueless to the situation, blundered right into me, knocking us both out into the open.

    My mind reeled as it took in the scene of the biggest Moon I had ever seen silhouetting a Victorian mansion and a helicopter with a surfboard lashed to the bottom of it.

    “Hey, man, ever been shot?” A voice out of the darkness questioned.

    “Holy fuck!” Zongo shoved me aside. “It’s Charlie Fucking Perigo! Who shot you, you fucking maniac?”

    “Charlie did,” Perigo said. “Fred Williams, you son-of-a-bitch. What are you and your buddy trying to do, give me the heebie-jeebies? You know I have a delicate constitution.”

    “The only thing delicate about you, Chuck, are them fancy panties you wear under those baggies.”

    “You ought to know, Freddie, I got them from your sister.”

    The two went on and on, playing the dozens until I finally broke in. “So I take it you two know each other?”

    It turned out that Zongo and Charlie met right after he’d come back from Vietnam and they had been thick as thieves for a while. I guess they just kind of lost touch when Zongo went south to to be part of the San Francisco scene. Both Charlie and I laughed our asses off when he told us the story about the how the Condor sign spoke to him one night. Who’s to say? I’ve seen—if not crazier things—some pretty weird shit out there on the edge.

    Well, we spent a good piece of time there in the courtyard, laughing and smoking some primo weed that Charlie was holding. At one point, we had been talking about all the heads that had been showing up in Mendo, and wouldn’t be cool if we had a place where we could all hang out together where we wouldn’t get hassled.

    Zongo took a big hit and looked kind of philosophically up at the moon so that we followed his gaze. “I’ve got an idea!” he said once he had exhaled the smoke, and that was that. Girassol was reborn.

  • Kingdoms of the Radio: Chae Burton 1 [ficção]

    UNFINISHED DOCUMENTARY, KINGDOMS OF THE RADIO  |  1995

    Every community has its own creation myths; stories that bring members together in shared tradition while allowing new people to understand in a deeper way where the group was coming from. Girassol was no different.

    My favorite one was when Charlie almost shot Zongo and Enrique as they first popped out of the forest. I had taken a little hike into the woods to pee, so I missed it, but I would have loved to see Zongo’s face; not just at seeing the property for the first time, but staring down the barrel of an automatic for the first time as well. I’m guessing.

    Charlie used to love to tell how the huge Moon we had that night had risen above the tree line behind the mansion. It was a full moon at vernal equinox and came over the house due east, throwing some spooky shadows back over the courtyard.

    He’ll probably kill me for telling you this, but Charlie was always afraid of the Menehune. Ever since he was a little kid. Imagine the scene; it was dark, with this big full Moon rising over an abandoned ranch from the 1800s, and there are noises coming toward him.

    What would you do?

  • Kingdoms of the Radio: Charlie Perigo 3 [ficção]

    UNFINISHED DOCUMENTARY, KINGDOMS OF THE RADIO  |  1995

    I had been surfing the late afternoon break at Manchester, north of the lighthouse, and the Sun was starting to drop behind the mountain. The great whites come in to feed when it gets dark, so I rode one last wave all the way to the beach, collected my stuff, and lashed my board to the chopper’s skid. Chae came and met me at the edge of the dunes. I had talked her into exploring the old ranch with me and she had showed up ready to go, dressed in cutoffs and hip boots. She looked so good, I almost asked if she wanted to forget the ranch altogether.

    I mentioned that being alone on the Girassol property always made me feel paranoid, like I was being watched from the tree line. This particular evening was really bad. I had a serious case of chicken skin by the time as soon as we landed. I could swear I heard voices, but I wasn’t about to say anything to Chae.

    It’s embarrassing, but as a kid, I was deathly afraid of the Menehune, the race of little people who live… well, in remote forgotten places like Girassol. I had an auntie from the Big Island who told me about them, and I never got over it. I know they’re supposed to be friendly; they were the ones who came out at night and built all the ancient temples and fishponds, but for some reason, they freaked me out. Maybe it was because they only came out at night. I never did like that story the cobbler and the elves, either.

    I know it’s wasn’t really in keeping with the whole peaceful warrior trip, but I used to keep my service piece, a Colt Commander, in the bird just in case I got bum rushed by a wild boar or some critter out in the deep country. I grabbed the gun and began my recon of the perimeter. By this time, the Sun was down and one of the fattest moons I had ever seen was rising up, casting the courtyard in an unearthly light.

    Across the clearing from the main house were the ruins of some smaller buildings, maybe worker’s quarters or something at one time. Behind that mess, was a dark tangle of green that made ’Nam look down right barren. That’s where the sound was coming from; because, of course it was.

    I have to say, I didn’t spend a whole lot of time down in the shit, not as much as the grunts, but the whole scene that night was bringing me right back to my time in-country. I took a defensive position behind one of the collapsed walls and waited for the little fuckers to come out of the woods. To my surprise, it wasn’t Menehune at all.

  • Kingdoms of the Radio: Zongo Khumalo 3 [ficção]

    UNFINISHED DOCUMENTARY, KINGDOMS OF THE RADIO  |  1995

    It had been a couple of years since I’d been back north, but I thought I knew every place there was to know. That’s one of the things that made me want to leave in the first place. I had directions and a map to Garissol from Mrs. Chaves, but they didn’t really make sense. Where she had drawn the road to the old ranch, there was only a solid wall of brambles. I knew that the fuckers grew fast in the county, but this looked like virgin territory.

    Enrique had a couple of big old machetes in the back of his bus from a harvest, so we decided to try and see what, if anything, was on the other side of the blackberries. We had spent so much time trying to find a road that seemed to no longer exist that the sun was starting to go down behind the tall trees. I guess if we hadn’t still been a little wired, we probably would have waited until the next day.

    It was pretty rough going, but we did start picking up signs of an old wagon road deep in the thicket. I found it incredible to think that maybe no one had been out this way since the very first cars drove up the coast. The very thought sent a chill up my spine, especially since the next thought was, “Why the hell not?”

  • Happy 80th, Van the Man!



    Belfast’s beloved son Van Morrison has been a recording artist longer than I’ve been alive. Them’s first, and penultimate, album—having dropped in ’65—preceded me by a full year. This is to say that the mystic blues shouter has always been around as far as I’m concerned.

    Growing up on AM radio, Dr. Don Rose on San Francisco’s KFRC must have introduced the first Morrison classic I fell in love with, probably 1970’s Domino from His Band and the Street Choir, still one of my all-time favorite records.

    Although our childhoods were separated by a good 21 years and the Atlantic Ocean, I have to think of him as a soul brother equally steeped in Blues and R&B from our respective impressionable ages. My father used to sit me down, when he wasn’t blaring Fats Domino or Little Richard’s Specialty catalog as loud as it would go, and explain what the drummers on Count Basie and Duke Ellington’s seminal First Time! The Count Meets The Duke were doing before continuing his ongoing dissertation on Jimmy Reed’s Live at Carnegie Hall.

    As a result of what the less-enlightened among us might consider prolonged polyrhythmic brainwashing, I have often felt that perhaps I was grown in a weird sonic test tube to be a Van Morrison fan. The way that our man can stretch a phrase so that it lands off the beat like a jazz singer, or drop into a shamanic trance state to rival John Lee Hooker, it was a language I was well familiar with by the time he began to eschew the easy radio hit.

    I can still remember watching Van Morrison: The Concert on PBS late one night in 1990. I think I was half paying attention, digging the traditional Irish songs that had been on his collaboration with the Chieftains a couple of years previous. A good hour into it, the band broke into In the Garden from 1986’s No Guru, No Method, No Teacher at a frenetic pace. My first thought was that they were disrespecting the elegiac beauty of the song, a meditative highlight of the album.

    And then, with the crack of a snare drum, as suddenly as we were launched into the firmament by the upward thrust of the band, we break gravity and jettison the boosters. Van touches the seventh verse (so lightly) and then slips into a gravity-free trance, repeating, “You fell, you fell, you fell,” tasting and twisting both syllables, recasting them, rejecting them, pacing the stage like a nervous panther in a cage, and finally placing them, “from the garden.” I remember walking toward the TV, and saying out loud, “What the fuck?”

    I had seen plenty of live music by then, but I had never seen someone so enraptured by the moment, in the moment, of the moment. And who the hell is he talking about? Is he singing to mankind or speaking to the angels that were cast out of heaven? Maybe he doesn’t even know. Maybe it doesn’t even matter. It’s fucking poetry, it is.

    That song still makes me tear up every time I hear and I don’t know why. Is there a primal longing to return to the proverbial garden that Morrison tapped into? I am sure that he would just remark, as he has many times, “It’s just a song. I’m just a songwriter.” I call bullshit, but OK, I get it. The creative arts, when one is open and lucky, exist in a realm of real magic. It is best not to piss off the muse by calling it out.

    I have always respected Morrison’s high regard of the muse and his willingness to follow it wherever it might lead. The two records he produced during the COVID pandemic, and subsequent lockdown, gave his critics plenty of raw meat to devour. However, after a good 60 years in a game he, himself, has eschewed in both in song and action, I felt, and still feel, that the man has well earned the right to respond to societal events however he might feel appropriate.

    One can’t be surprised that an artist who sang the following, nearly 55 years ago, might not give a shit what anyone has to say about his business one way or another: Don’t wannna discuss it / Think it’s time for a change / You may get disgusted / Start thinkin’ that I’m strange / In that case I’ll go underground / Get some / Heavy rest / Never have to worry / About what is worst or what is best

    A re-entrenchment along the lines of Bob Dylan’s two solo folk records of 1992–93, seem to have redirected Morrison’s inspiration. 2023’s Moving on Skiffle revisited the type of music he played in his youth, before the trap and trappings of fame; whereas Accentuate the Positive, from the same year, celebrated rock & roll at it’s earliest, and least calcified, incarnation.

    This summer’s Remembering Now reads at first as an aural CV of all of the genres that Morrison has explored over the years, with familiar places and themes bubbling up in the fragrant stew. The closest cousin in the Man’s deep catalog sounds to be 1991’s Hymns to the Silence, one of my all-time favorites.

    Eighty years on, Morrison’s voice sounds as strong as ever; age bringing, if anything, a resonance that was missing in the early days. Listening back, I hear the young, brash rocker of 1965–66 as a trumpet, blasting out the theme over the roar of the band, announcing the new world as it was unrolled before it. These days, Morrison’s instrument has become a tenor sax, deep and luxurious, able to evoke longing and defiance with equal strength and intention.

    Roll me over, Romeo.

  • Kingdoms of the Radio: Enrique Bravocado 2 [ficção]

    UNFINISHED DOCUMENTARY, KINGDOMS OF THE RADIO  |  1995

    I don’t like to fly, let me just put that out there. The day I met Zongo, I was a wreck, having just got off the flight from McKinleyville. We hit some pretty gnarly turbulence over the coastal range and I was doing my deep meditation for most of the trip to keep from freaking out. It would have been a real drag if I had lost it, as I was carrying enough primo seeds from Humboldt County to revolutionize the entire situation out at Spy Rock.

    Can you believe that when I started helping some of the local farmers grow, they didn’t even separate out their female plants? When I started pulling out all the males by their roots, they thought I’d gone loco. After that first harvest, though, they all got on board.

    Anyway, after Zongo and I did all the speed he was carrying, we were rapping and he started telling me about the Girassol property. I’d never heard of it, and I had been around the county for a few years at that point. He said that some old lady he worked for from time-to-time in the City had inherited what remained of a ranch she had lived on as a kid and asked him to go check on the condition of the house that was there. Seeing how we were wired to the gills, we set out to find it as soon as we left the airport parking lot.

    I was still bouncing around in my dilapidated VW bus in those days. The salt air finally killed that beast, it ended up rotting it right down to the frame. Anyway, it took us until late afternoon to finally find what we thought was the turn off to the property.

    I immediately could see why I had never noticed it; the whole place sat behind an impenetrable thicket of blackberries with no way of knowing just how deep it was. There was no way the bus was going to make it through, so we took off on foot hacking our way through with machetes.

  • Kingdoms of the Radio: Charlie Perigo 2 [ficção]

    
UNFINISHED DOCUMENTARY, KINGDOMS OF THE RADIO  |  1995

    I first discovered the old Girassol Ranch by accident. When I finally bought my chopper, I talked my way into doing some fire spotting for the Department of Forestry. In addition to fuel, which was no small worry, it had the added benefit of giving me an excuse to be be flying back and forth over the back forty so I could help some of my friends move some foliage when it was harvest time. No one was going to question the flights if I was supposed to by looking for flareups. Keep in mind, this was before CAMP and the sight of a helicopter made everyone twitchy.

    Another benefit of being able to get above the trees was that I could really check the surf break before I paddled out to it. If the wind was makai, or toward the ocean, it would help smooth out the faces of the waves offshore and keep their lips up. There were plenty of crunchers out there—the bottom drops away pretty quickly at Manchester Beach—but when the wind was just right and I had the break line to myself, it was paradise, man.

    The first thing you learn as a stick is to constantly be looking for a place to land. Choppers are like bumblebees, built totally wrong for extended flight. I mean, just look at the damn things; it’s only through sheer tenacity that either of us gets off the ground, and that goes against the grain. The ground is always looking for a chance to take us back.

    I was coming back from where Bravo was working out toward Spy Rock when my engine took a shit. I lost all hydraulic pressure and had to fall back on auto-rotation, where I have to use the potential energy of my big chunk of glass and metal wanting to fall out of the sky. I quickly reduced my pitch which took advantage of the wind flowing upward through the rotors and was able to keep them spinning, slowing my tearful reunion with Mother Earth.

    Luckily, I had happened to notice the courtyard of an abandoned farm on the way out and was able to aim my dead bumblebee toward it. The most butt-clenching part of what my old flight instructors unironically called a “controlled decent” is the flare. At the last minute, the stick has to yank the pitch back up to get the bird moving parallel to the ground before the big kiss-and-make-up with that dusty bitch.

    After I pried my chonies out of my clenched ass cheeks, I hopped out and took a look around. Out of necessity, I had developed a bit of a sixth sense back in ’Nam and had learned the hard way to pay attention to it. Ever since that first time, as soon I dropped onto the property, I had the uncanny feeling of being watched.

    Of course, in time, there would be plenty of troublemakers out there, but even when it was just me—and sometimes, Chae—I would always make sure and do a quick recon just to make sure that no one was going to mess with the chopper. I never saw anybody, or anything, for that matter, but I never could shake that damn feeling.

    All of the outbuildings that probably once housed the ranch hands were completely falling apart but the big house always looked to be in pretty good shape, almost like it was protected from the elements somehow. I don’t know when it was last lived in, but when Zongo made his way up there he said it was almost like the house had been waiting for him.

    Keep in mind that Zongo smokes a lot of weed.

  • The Song Mt. Tamalpais Sings—Lew Welch

    Scanning the used books over at the wonderful Book Passage in Corte Madera, I came across several faded paperbacks by Beat writer Lew Welch. One of the lesser-known Beats, Welch is probably best known as the other hopeless drunk in Jack Kerouac’s majestically depressing Big Sur.

    Flipping through his work, however, I found Welch to be a gifted poet with a value system more in line with the nascent hippie movement that was emerging in the mid-to-late-’60s. That Welch disappeared into the woods around Nevada City with his 30-30 after writing a goodbye note only adds to the mystery of this important writer I had somehow missed during my fascination with all things Beat.

    Welch’s brief, lyrical chapbook The Song Mt. Tamalpais Sings, originally published in 1969, and reprinted with three additional poems by Berkeley’s Sand Dollar in 1970, features a stunning wrap-around scratch board illustration of the Marin Headlands with a slightly more provincial San Francisco peeking (peaking?) over the hills.

    The title poem, the first in a pair of bookends that feature the mountain, intones the mantra: This is the last Place. There is nowhere else to go, as Welch boils down the western movement of humankind. Centuries and hordes of us, from every quarter of the earth, now piling up, and each wave going back to get some more. Buddy, you have no idea.

    The last poem, Song of the Turkey Buzzard, looks deeper into a riddle posed in a triptych of Zen-like koans (complete with commentary by Welsh’s literary alter−ego, the Red Monk): If you spend as much time on the Mountain as you should, She will always give you a Sentient Being to ride… What do you ride? (There is one right answer for every person, and only that person can really know what it is)

    Of course Welch, like anyone would, wishes for a cool totem animal like a mountain lion, but the mountain has other ideas: Praises, Tamalpais, Perfect in Wisdom and Beauty, She of the Wheeling Birds. Throughout the course of the poem, the mountain throws some pretty clear hints at him until in the second canto, he finally acquiesces, and given his final act two scant years later, it begs one to wonder if he hadn’t been planning it all along.

    With proper ceremony disembowel what I no longer need, that it might more quickly rot and tempt my new form NOT THE BRONZE CASKET BUT THE BRAZEN WING SOARING FOREVER ABOVE THEE O PERFECT O SWEETEST WATER O GLORIOUS WHEELING BIRD

    Sand Dollar

  • Kingdoms of the Radio: Don’t Poke the Bear (Pt. 2) [ficção]

     SAN FRANCISCO, CALIFORNIA  |  1971

     “So there we were, at the Canadian border, five of us in a van crammed with instruments and two pounds of the best Humboldt County weed you could imagine,” Cole entertained a captive audience of very stoned fans with tales of adventure and debauchery on the road. “Chalk was the one driving as he hadn’t come on to the acid yet, and we were hoping to make it to Vancouver before he did.”

    Watching Cole from the corner of the dimly lit room through all the hash smoke, cigarette haze, and hip-deep bullshit, sat a raven-haired, hippie girl with the unlikely appellation, Raenbeaux Starr. Blessed with an unerring sixth sense for trouble, Rosenda watched the girl watch from the opposite side of the room.

    “As soon as we drove up to the booth and the Mountie was giving Chalk the treatment, you know, ‘Where are you going in Canada? How long do you plan to stay?’ All of that—our fucking bass player lost his hold on reality. He lunged up between the front seats and starting raving and growling, “I’m a monster!”

    Caught up in pantomiming his story, Cole was oblivious to the girl staring a hole into the side of his face.

    “Now, Canadians have a very dry sense of humor,” Cole continued. “The Mountie simply looked at our bassist and asked, ‘Are you carrying any fruits or veg?’ It was all we could do not to just dissolve into maniacal laughter. Somehow, we got waved through and made it far enough down the road so that we could pull over and lose it. I actually pissed myself I was laughing so hard.”

    Rosenda noticed that while most of the assorted hangers-on were laughing at Cole’s story, the young girl in the corner had never shifted her gaze. She was, however, moving closer to the star, carrying with her a massive lit joint.

    The nymphean creature sidled up to Cole and took a huge hit before shotgunning the pungent smoke into his mouth, sensuously brushing his lips with her own. The crowd reacted with a mix of encouragement and bemusement, sparking Rosenda to question the act.

    “What?” she sputtered, the heady atmosphere in the room taking a toll on her own faculties. “What’s wrong with that?”

    One of the heads that was sitting cross-legged under a massive purple batik mandala spoke up. “Oh, it’s groovy. It’s just that Raenbeaux’s trip is angel dust. You know, PCP? Your man there is gonna be engaged for the next few hours.

    “God damn it!” Rosenda raged. “You fucking idiots, I’m going to lose my job!”
     
    Back out on the curb, Shane’s thoughts had turned briefly toward wondering what he was going to do about dinner when the front door of the old house slammed open, straining the natural arc of its hinges. A totally nude and raving Lucious Cole took the wooden stairs three-at-a-time and took off down the middle of Webster, an enraged Rosenda in hot pursuit.

    “Bear, just don’t sit, there,” she panted, her legs furiously working her leather pumps in a futile attempt to overtake the flying Cole.

    “Catch him!”

    Shane took a second to take stock of the situation and then pivoted into action. Stepping out of the Lincoln, it took several seconds for the uncharacteristically tall Irish-American to completely unfold his body, but when he did, he loomed in the throw of the streetlight like a pale, fire-topped menhir, or Celtic standing stone.

    “Cole!” he bellowed, his resonant baritone rattling the Navy glass in the loose window frames of the surrounding houses. “Not that way, mate! There be dragons!”

    The pinwheel-eyed rock star spun around and headed straight for the driver who promptly clotheslined him, dropping him to the street.

    “I didn’t say kill him!” Rosenda gasped while catching up to both Cole and her breath.

    Shane quietly took stock of the situation and tossed the gasping woman the keys to the Lincoln’s vast trunk. “Get the rope.”

    “What? You can’t…”

    “Look, Karoline, do you want this guy around or not? In about 60 seconds, he is going to be back up and take to his heels. I don’t feel like driving around all night looking for him. Get me the rope.”

    Rosenda didn’t argue any further but retrieved a skein of yellow nylon cord. She began to ask why Shane carried rope, but immediately thought better of it. Besides, she was about to find out.

    With a weary grunt, Shane knelt down next to the unconscious Cole and placed one knee in his back while looping the rope around his wrists. With a deftness that suggested he might have either had some experience with animal husbandry or BDSM, he quickly had the rock star hogtied so that no matter what superhuman strength he may temporarily possess, the man was going nowhere.

    “Hey,” a voice called out from the Victorian’s porch where a ragtag crowd had spilled out. “You can’t do that, man! That man has rights!”
    Bear chose to ignore the complaints and focused on wrestling the inert star into the backseat of the Lincoln.

    “Fascist!”

    That turned out to be the wrong tact to take with the former boxer. Although he had been too young to get drawn into the War, Shane had brothers that risked their lives to beat back the tide of extremism in Europe.

    Without saying a word, Shane gently shut the rear suicide door and walked around the front of the car. Once on the sidewalk, the streetlight threw his shadow across the entire front of the house, casting a pall on whatever meager protests were forthcoming.

    “Who said that?” He bellowed.

    “Hey man, you can’t just…” one of the heads started an objection but quickly ran out of steam as Shane stepped up.

    “So it was you?” He loomed.

    The wispy-bearded young man couldn’t have been a hundred and forty pounds soaking wet, but answered the big man’s question without too much tremor in his voice.

    “Yea, it was me… Man.”

    Shane took the young man’s measure as even the traffic on nearby Haight St. seemed to quiet down for once.

    “Good for you,” he finally spoke. “You should always stand up for those who can’t stand up for themselves. That’s what my brothers went to Europe and got their asses shot full of Nazi lead for. I applaud that sentiment, but in this instance, I promise you, your concerns are misplaced.”

    His reassurances delivered, Shane turned and walked back to the car, leaving the group on the porch speechless and confused.
    “What are we going to do with him?” Rosenda asked, sliding into the Lincoln’s passenger side.

    “We are going to sit on him until he gets his shit together. I know just the place.”

    “You really clocked him,” she said, peering over the headrest back at the prostrate star.

    “That’s why I get the big bucks,” Shane half-joked, while tied on the backseat, an Englishman far from home dreamt of Elysian Fields.

  • Kingdoms of the Radio: Don’t Poke the Bear (Pt. 1) [ficção]

    SAN FRANCISCO, CALIFORNIA  |  1971

    The black ’65 Lincoln Continental idled at the curb of the decrepit Victorian on Webster St. in the Lower Haight. Dry weeds reached out from a parched patch of dirt as if straining to see their sorry reflection in the perfectly polished chrome hubcaps. The driver, an Irishman named Bearach Shane, just Bear to friends and enemies alike, had been in this position many times driving for Zev Avidan’s record company. Shane was a man who knew where in the City to get just about anything one could want, and what Lucious Cole wanted was trouble.

    The house was a well-established stop on the downhill slide, and many customers who Shane escorted there over the years soon dropped clear out of sight. Once in a while he would see some former young and hungry musician down in the Tenderloin walking the streets in the zombie shuffle that all junkies eventually seemed to affect, the ones that didn’t just flat out stop breathing, that is.

    Still, Shane understood the drive to match their everyday lives with the thrill and adrenaline rush of the stage. Most professional musicians lived for that hour or two or three of total connection both with their art and their admirers. Everything else, whether it was sitting on a bus, sitting on a plane, sitting backstage, or sitting at home, was unbearable drudgery. Once they were pulled into that higher state, you just couldn’t yank out the plug in the same way that the roadies disassembled the back line.

    Shane also understood addiction; he came from a long line of alcohol enthusiasts. That wasn’t to say that he had some horrible back story, no worse than anyone else’s back in the day, no priest or drunk uncle ever laid a hand on him. Regardless, it fell to the old neighborhood palookas to raise him up as much as anybody could, or would, take credit for.

    Shane had grown up in the fog-shrouded streets of the Sunset District, just down the street from Celestial Records, although the building wasn’t a record company back in his youth. The square, two-story cinderblock office had once been a neighborhood gym, and he had spent a lot of time working the heavy bag and sparring in the regulation-sized ring.

    People in the neighborhood who knew, and cared, about such things, said that he could have been a Golden Gloves champion if he had stuck with it. Shane had other, less lofty, aspirations. By the time he was in his twenties, he knew the intricacies of navigating the City’s streets and alleyways as well as its myriad political and racial factions. Shane probably could have run for a seat as a City Supervisor, and won, but as he liked to tell people who asked, he wasn’t that corrupt.

    Shane rolled down the driver side window, lit a Camel unfiltered, and checked his thinning red hair in the rear view. The one conceit he was unwilling to make to Father Time was losing the fiery tint that marked him as a mac na hÉireann, or son of Ireland. Every six weeks, on the dot, he slipped into the back door of a beauty salon run by a Vietnamese refugee named Rosy and chased the gray away for another month and a half.

    His one vulnerability surveyed and assuaged, Shane clicked the radio on, leaving it low so he could still hear if there was trouble afoot. The late night DJ was talking up Cole’s upcoming run of shows and his eyes automatically shifted to the house. Anybody’s money whether tha’ English fucker was going to make those gigs, he mused, at the same time wondering about the feasibility of getting some action going regarding that bet.

    He knew some old school hard-asses from back home that would love to see Cole go down if only because he was the Queen’s subject. Shane was more pragmatic than that, coupled with the fact that “back home” for him was about three miles away from where he was parked; he couldn’t fault the man for where he was born.

    Plus, the poor sod was under the ol’ broad’s thumb as much as anyone, maybe more. Shane knew enough professionals to understand that once a Brit started making a decent piece of change, her taxmen sniffed it out like the rotten bulldogs they were, and they would be lucky to have a pot left to piss in.

  • Kingdoms of the Radio: Zongo Khumalo 2 [ficção]

    UNFINISHED DOCUMENTARY, KINGDOMS OF THE RADIO  |  1995

    I met Bravo as soon as I hit ground. We did up the last of what I was holding and I caught a ride with him up to Mrs. Chaves’ property. The Mendo coast was different in those days. A lot slower, if you can imagine. I think there may have been one stoplight on the whole trip.

    The bottom had long fallen out of the timber and cattle businesses, and tourists, although around, weren’t everywhere. A couple of freaks in a busted-up VW van could still draw looks when we cruised through town.

    Bravo had been working on some of the remaining ranches as kind of a jack-of-all-trades, which suited him quite well. He told me that he had been a high school English teacher in the Bay Area, and couldn’t deal with seeing his former kids coming back from Vietnam in boxes, so he dropped out. He liked the repetition and the anonymity of working the fields. He also was stoked to be in the best shape of his life.

    Some of the established farms had started supplementing their income by growing the crazy weed, and my man was quite the expert, having lived up in Humboldt County. I was glad to hear that I would at least be able to find some smoke on the Garcia, as that was one of the factors that originally drove me to move down to the City.

    Part of me was glad that the rest of it was going to be hard if not impossible to get my hands on. As I had time to process the incident on Broadway, I could see that I had been getting pretty far out there.
    One good thing about being back in the Triangle was the utter lack of giant talking neon signs.

  • Shit from an Old Notebook: Odds and Sods

    Sometimes when writing a long-form piece like a novel, you find yourself wandering down paths that don’t end up going anywhere, at least anywhere that helps the story.

    This one of those digressions that I rediscovered while cleaning out an old laptop that is not long for this world. I can remember where I was when I wrote it, high on a ridge over Fairfax, California, looking out the window of the little home office that I quickly threw together after the COVID pandemic brought the world to a screeching halt.

    I was lucky enough to be trapped in a honeypot where my view was across a wooded canyon. A few houses up the hill the road dead-ended at open space where my dog Biscuit and I could look down on the failure of modern civilization.

    Originally, I had the idea of making Burn Your Starry Crown a trilogy, checking in each time the tale-tail comet came back around, ultimately ending as an outer space yarn. I became disavowed of that idea as I quickly realized it was completely out of my ability to pull off. Maybe some day.

    As distinctly as I remember where I was, I have little-to-no idea what the heck I was thinking and/or smoking here. Enjoy.

    When the teacher became aware, he was cast out of a warm world of water and salt. He liked to think that he had been born of the biggest womb in the world: the Pacific Ocean. He was delivered, not squalling, but gasping for air on a pile of lava rocks; laid out like a sacrifice. But to whom should he be offered up? The teacher could think of no one.

    Nor could he imagine what chain of events led to his ignoble presentation; brined and bleeding from his corporal brushes with sharp coral. Nothing left to do but get on with it, he supposed, with very few clues as to what it might possibly entail.

    The teacher… did he always think of himself as a teacher? Did he actually have a name? He struggled to his feet and spoke the two words he remembered from somewhere; “I am.” His voice was parched and unfamiliar to him, but the intent was very recognizable. He knew he had been cast here for an important purpose, but exactly what that was might have to wait. He was famished.

    A lone figure appeared out of the dense growth surrounding the beach carrying a large polished plank with a fin attached. Perhaps some kind of shark totem, he thought. That’s a good sign, he recognized; and apparently he knew what a shark was.

    The man was tanned and had the bleached white hair of someone who spent his days in and around the ocean. When the figure saw the teacher standing naked on the heiau, he dropped his totem and spoke the two words that came to define their relationship going forward.

    “Holy shit.”

  • Kingdoms of the Radio: Ride a Painted Pony [ficção]

    SAN FRANCISCO, CALIFORNIA  |  1971

    Doing his best to relax in a hard plastic molded chair, one of countless copies in a bleak line, the man formerly known as Fred Williams waited at the airport for a Pacific Air Lines 727 to arrive from McKinleyville. Khumalo sighed and took a deep hit of the local atmosphere. Filling his lungs with damp fog tinged with the volatile high note of spent jet fuel, he knew he had made the right decision. As soon as his current business was done, he was leaving.

    Khumalo watched from the gateway windows as baggage handlers drove their cart out onto the tarmac and began testing the viability of any American Tourister luggage like the gorilla in the recent TV commercial. He was a Samsonite man, himself, and relatively sure that what he was waiting for would arrive unscathed by any simian exuberance.

    He was actually relieved that this would be the last time he would be on the receiving end of a delivery from his people in Humboldt County. If he didn’t know everyone in the ground crews at both ends, he would never have put himself on the line. Leaving town, however, was always going to cost money. Spotting the innocuous Glacier Blue-colored case driving away from the plane on top of the handlers’ clown car, Khumalo made his way down to the baggage carousel.

    He always got a perverse kick out of the way that one of the most frustrating and soul-sucking activities one could endure at the airport was tarted up with a circus allusion. Who doesn’t like a ride on the carousel? What goes up, must come down… if it was good enough for Blood, Sweat, and fucking Tears, then you can stand ass-to-elbows with a crowd of exhausted travelers waiting for your dirty underwear. Ride a painted pony, motherfucker.

    Khumalo had long mastered the art of invisibility at the scrum. One just had to look tired and pissed off to be there. Any energy or excitement was immediately noticed as a tell that you were either on drugs, or up to no good. Perhaps both. It was the opposite of jury duty. He had been dismissed more times than he could remember by acting stoked to be a part of it all. Number 26… you can fuck right off.

    Having retrieved his suitcase, Khumalo made it as far as the men’s room off of the carousel before the bindle in his boot started calling his name. It had been some time since he had dug into the remedy, and if he was going to hit the ground running, he needed a little pick-me-up.

    After the supernormal vision he experienced on the corner of Broadway and Columbus, the newly-christened Zongo had somehow made it back to his North Beach flat and slept for three days. When he finally awoke, twisted in sheets damp with sweated toxins, he untangled himself, took a shower, and hightailed it over to the Fillmore District.

    “Hello, Fred,” a spry eighty-four-year-old Liana Chaves answered the doorbell after Khumalo used it to play a brief but inspired solo. “Did I call you over?”

    “No, Ms. Chaves,” he fought to keep from shifting from foot-to-foot and becoming the young boy the woman always made him feel like. Khumalo supposed that compared to the octogenarian, he was still a boy. Hell, compared to her, he thought, he was still a fucking embryo. Still, the old gal always treated him well, and Khumalo always mustered a little extra care when asked to maintain her jewel box of a home.

    “I wanted let you know that I was thinking about going back up north for a bit. I could check in on your property while I was there if you’d still like. Maybe do some fixing up if need be.”

    “Is that right?” Chaves eyed the handyman skeptically. “And you didn’t feel that you could call me on the telephone and give me that news?” The woman didn’t reach her eighties by being anybody’s fool.

    Against his best efforts, Khumalo began to rock a little on the balls of his feet. Jesus Christ, he thought, all I need is a baseball cap to nervously twist in my hands as I ask for the damn money for the Chronicle.

    “Ah, Ms. Chaves… you see… the thing is…”

    “Get on in here,” Chaves kindly released him from the hook she had so masterfully landed in his cheek. “I’m just breaking your balls. That’s great news, Fred. The sun just might do you some good, you’re looking a little pálido.”

    You don’t know the half of it, Khumalo thought, toying with the idea of telling the woman the whole story, starting with his mystic vision of the Giant Neon Doda and how she rechristened him on the side of Broadway while sailors and drunks passed between them on their ways to their own life-changing interludes. He thought better of it.

    I’m sure the ol’ gal has seen some weird stuff in her time, he mused. Hell, she lived through two World Wars, the Roaring Twenties, the Great Depression… but a Giant Neon Doda? Forget it. That story was not going to get the keys to her pad in Mendocino.

    As Khumalo followed Chaves down the entry hall, he had to resist running a hand over the polished mahogany wainscoting. “Do you have any idea what kind of shape the place is in, Ms. Chaves?”

    “Now, Fred, if we are going to talk business,” the elderly woman spoke without turning around, continuing her bustle toward the kitchen, “we should sit down and have a cup of tea like civilized folks, don’t you think?”

    “I suppose a cup of tea wouldn’t kill me,” Khumalo spoke to the majestic gray bun meticulously piled on the back of the woman’s head. “It’s just that I know what that climate can do to a place.” Chaves ignored his comment, already having laid out how this transaction was going to go.

    Once he was sitting at the comfortable farmhouse table that dominated the kitchen, its only competition a Wedgewood gas stove where an ancient copper tea kettle was happily coming to steam, Chaves told Khumalo about the property she hadn’t seen since the turn of the century.

    “My father was a dairyman, originally from São Miguel,” she narrated over her shoulder while bustling around, opening drawers and cabinets. “Like everyone from around the world, he came to California to strike it rich but soon realized that the best way to do that was to stick to what he knew best. It didn’t take long for him to put down the gold pan and carve out a small ranch out on the Garcia.”

    “The Garcia?” Khumalo raised an eyebrow, flashing on Jerry and helplessly imagining a farm hidden in his beard.

    “The river that winds through the property,” Chaves explained. “It flows pretty heavy in the winter if there’s been a lot of rain. You’ll like it, Fred. My father used to take me with him to catch steelhead when they were running.”

    “I’m not much of an angler, ma’am,” Khumalo lamented.
    Chaves ignored the comment and continued her monologue unabated.

    “I turned 13 in 1900, and that’s the last time I went fishing with my father, or saw the ranch. Sugar?”

    “No, thank you, ma’am,” Khumalo reached out for the delicate cup of fragrant tea. He blew on the brew, gazing over the rim of the bone China, now fully invested in the woman’s story. “What happened? If you don’t mind me asking.”

    “Ah, tragédia, I’m afraid,” Chaves sighed. My father had business here in San Francisco and came down in the middle of a pandemic.”

    “Ma’am?” Khumalo had attended high school at Lowell out in the Parkside District and didn’t remember anything about a local pandemic from any history class.

    “The bubonic plague,” Chaves noticed the blank look on her guest’s face. “It started in Chinatown, and tore through the City, but the government denied it was happening. About the only thing good about the whole place burning down in ’06 was that it finally put paid to that whole business.”

    “Wow,” Khumalo offered, not knowing what else to say. “I’m sorry, ma’am.”

    “It’s ancient history,” Chaves sighed. “Literally. When my father died, most of us children were farmed out to relatives. A few years later, I met my husband and we moved out to the Hawaiian Islands. He was in the sugar business, you see.”


    “And you never went back?” Khumalo asked. “Not even to visit?”

    “It was a different time, Fred. Back then, living in Hawaii… you might as well have been living on the Moon. I wrote to my mother every month after I left, but when the War broke out—this would have been the first ‘war to end all wars’—they started coming back unopened. I’ve tried over the years to find out what happened to her—what happened to Girassol—but life… you’re too young to have learned this yet, but life just has a way of barreling along like a train with no brakes. You see the stops as they go whizzing by, but too soon, you just sort of stop looking out the window.”

    “Who is Girassol, Ms. Chaves?”

    “Girassol is not a ‘who,’ Fred; it’s a ‘where.’ Girassol is, or was, our ranch. It means, ‘sunflower.’ The way I remember it, the Big House makes this place look like an earthquake shack. Oh, Fred, if it still stands, you’ll be amazed at all the amazing redwood. It was built a long time before that was hard to get.”

    “So you don’t know for sure if anybody is living there… or has lived there since World War Two?” Khumalo asked, beginning to imagine the house as a total tear down, that is, if the place hadn’t already fallen into Jerry’s beard.

    “World War One, dear. And, no, I have no idea; the deed came to me anonymously. How’s your tea, Fred?”

    Khumalo took a sip from the delicate cup and sat back in the woman’s overstuffed chair lost in thought.

    “Delicious.”

  • Kingdoms of the Radio: Zongo Meets The Stick (Pt. 1) [ficção]

    POINT ARENA, CALIFORNIA  |  1971

    The self-ordained Zongo Khumalo descended the short staircase that led out of the back of Sammy’s Burger Shack where he had just been asked to turn in his whites and, in the words of the owner—a self-avowed asshole actually not named Sammy—“get the fuck out.”

    Khumalo reached into the breast pocket of the non-breathing fuchsia polo shirt he had been required to purchase for the distinct privilege of flipping not Sammy’s shitty burgers and removed a battered red and white Marlboro soft pack containing a half-smoked joint of sinsemilla, the first half of which may have had a deleterious effect on the morning’s events.

    “Fuck it,” he declared to the Pacific Ocean slapping just beyond the asphalt escarpment that marked the edge of the continent, and by default, the Burger Shack’s domain. A profusion of small star-shaped flowers of white, pink, and purple competed with similarly-hued burger wrappers for the privilege of being the landscaping’s most prominent feature.

    Khumalo had just taken a large hit when a convertible Oldsmobile came smashing into the Shack’s gravel parking lot like a giant iron meteorite. Just when he thought the heavy chunk of Detroit steel was going to end up becoming an artificial reef, the driver locked up the disc brakes and jerked his wheel to the left sending the machine into a four-wheel slide and kicking up a metric fuck-ton of dirt, rocks, and duck shit in the process.

    When the filth finally cleared, Khumalo expected to lock eyes with a typical wired-to-the-gills gearhead, or maybe one of the usual gonzo surfers that frequented the Shack after the morning break; instead, he was surprised to see—back-lit by the Sun still-rising toward apogee—the spitting image of Jesus Hieronymus Christ himself.

    Charlie Perigo threw open the perfectly balanced driver-side door—back when Detroit rolling stock still had bodies “designed by Fisher”—and immediately zeroed in on Khumalo who stood agape in the slowly settling cloud of debris, his joint hanging from his bottom lip held by a thin scrim of moisture.

    “Hey, brother,” Perigo addressed the incredulous ex-line cook. “What’s burnin’?” Khumalo turned back toward Sammy’s to see a plume of black smoke billowing out of the slowly turning rusted rooftop turbine vent.

    “That would probably be the lunch rush,” he answered, rescuing the now-extinguished joint and pointing back toward the shack with it.

    “Not that,” the apparent maniac pointed at his hand. “That.”

    “Oh, right,” Khumalo shook off his first impression of the driver as Big J’s stunt double and fumbled for his Zippo.

    The two born iconoclasts connected with the heedless force of a chemical reaction, Khumalo soon finding himself in the 442’s passenger seat, hanging on for dear life as the appropriately-named Perigo took the sharp shoreline turns at a full four-barrel roar.
    Perigo shouted something over the car’s 400-cubic-inch engine in maximum thrum as whole dinosaur dynasties were vaporized and shot out the dual exhaust, never to be thought of again.

    “What?” Khumalo shouted back in a register he didn’t recognize. As the Oldsmobile’s tight suspension groaned to counteract the brutal physics involved in the questionable choices Perigo was making on the turns, the force of inertia bent him toward the driver whom he began to suspect was completely insane.

    “I asked you,” Perigo shouted as he slammed the Hurst shifter into yet a higher gear, “have you ever been shot?” Before Khumalo could answer one way or another—and to tell the truth, he would have said “no,” had he time to gather his wits about him—Perigo lifted his white T-shirt to reveal an even whiter scar on his abdomen. The former cook took the bait.

    “Who shot you?” Williams played his part perfectly, coming in on cue as if rehearsed.

    “Charlie,” Perigo answered and started laughing like the lunatic Williams had now decided he most definitely was. Even years later, throughout the arc of their friendship, whenever the two men got together they performed their ritualistic greeting, each time Perigo dissolving into paroxysms of laughter so that Williams never did find out if it was the Vietcong or actually the man himself who pulled the trigger.

    “So, you were in ’Nam, man?” Williams asked, blindly groping around the floorboard for his dropped Zippo so he might steady his nerves for the next hairpin turn.

    “I did one tour and then got the fuck out,” Perigo shouted, deftly swerving to miss a dead fawn in the middle of the road.

    “Whaddya do there, if you don’t mind me asking?” Khumalo asked as he struggled to light what was left of his medicine in the jet stream pouring in around the car’s windshield.

    “Chopper pilot,” Perigo answered, shifting into a gear that Khumalo was sure had no place on the Shoreline Highway.

    “You were a ’stick?’’’ Khumalo asked, passing the joint and hoping that its effects might just tame the maniac behind the wheel.

    “No, man,” Perigo corrected, taking a massive hit before losing the roach to the wind, a development that came with a 50 percent chance of starting a forest fire. “The stick.”

  • Post #100—Looking Forward


    Well, the ol’ materfamilias has said a lot of goofy shit since… well, since I’ve known her, but I’m going to take this little piece to heart from now on. I think I must have been breaking her balls over Mother’s Day or something, and I prodded, “When is my day? Just because we decided not to have kids, there’s no day for me?” Of course, I knew full well that everyday was up for grabs without carpet critters running underfoot, but I could not pass up an opportunity to give her the business. She looked at me with a moment of strange clarity and said, “You have a whole month.”

    I guess I do have a month, or, at least, I’m claiming it. July is my time to shine, and shine I fucking well planned to do. If it killed me. Ever since I was a kid, the celebratory nature of July was bracketed by the Fourth and—at the tail end—my birthday, which just happens to coincide, more often than not, with the local Portuguese Festa. One of my folks favorite jokes was to tell me that they were taking me out to lunch for my birthday and, invariably we would find ourselves down at the Hall, sweating in the almost-August heat with a several hundred other souls waiting for sopas.

    This July hit different, as the kids say. Besides the fact that it was the coolest July in, if not my lifetime, at least half that long, it was oddly… subdued. Maybe it was the loss of Ozzy or the increasingly unstable political situation, but the last month felt like a demarkation of sorts and now we are all waiting for what comes next.

    I would say, “watch this space” for insightful commentary on the ongoing decline of Western civilization, but, in the immortal words of Sweet Brown, “Ain’t nobody got time for that.” In actuality, this space may be end up being part of my escape from all that noise. I am embarking on the long journey of writing another novel, and plan on posting bits and pieces as I go.

    Which brings me to a question that I have been thinking about a lot this last month: What is the point of art when the whole world feels like it is about to burst into flames?

    Talk amongst yourselves.

  • Kingdoms of the Radio: Karoline Rosenda 1 [ficção]

    UNFINISHED DOCUMENTARY, KINGDOMS OF THE RADIO  |  1995

    I was right out of college and living with a couple of roommates in a flat over the Communist Bookstore in the Mission. A friend of mind had wrangled me a job working for Zev Avidan—we all called him “Z”—over at Celestial Records. This was back when their offices were still on Irving, out in the Avenues.

    Celestial had somehow gotten the North American distribution rights for Lucious Cole’s new solo album, A-OK; sort of a Syd Barrett meets Van Morrison at a Captain Beefheart clusterfuck in Golden Gate Park sort of thing. To tell the truth, I thought it was a hot mess, but you have to understand the times. The labels were a lot more willing to take a chance on some crazy act because you just didn’t know what was going to catch on.

    Cole still had some star power left over from his years with the National Loaf, and whatever self-destructive thing he did to land himself in the papers on any given day only helped our situation. It’s a sad fact that dying is one of the best career moves you can make when you consider the back catalog.

    I got involved because was Cole was coming to town for a string of shows at Winterland. I think Albert King was opening for him and all three nights were completely sold out. This was the summer of ’71, right after Morrison woke up dead over in Paris, and the company was understandably a little concerned about their investment.

    Z asked me to keep an eye on their boy; you know, keep him out of major trouble, and make sure he found his way to the venue at a decent hour and in reasonable shape. I have to admit, I was a little star struck. I was young and still susceptible to British charm back then. Cole would soon cure me of that. Permanently.

    Despite all the drugs and booze, or probably because of them, our man certainly had the sexy lure of the disaffected poet about him. When I saw him strolling down the jet way at the International Terminal, a pretty blonde stewardess on each arm, I was a little smitten and maybe just a little jealous.

    Safely delivered by Pan Am’s fit and curvaceous handlers, Cole made a rather elliptical beeline toward me. As he got closer, I could tell he was sloshed, but he still tried to double down on his remaining charisma.

    “Hello, darling,” he purred, or slurred, I couldn’t yet tell which. Perhaps both.

    I said something to the effect of “Mr. Cole, I presume, how did you know I was waiting for you?”

    “Because, darling,” he buzzed (yea, it was both), “who else would such a beautiful woman wait for?” And with that, we were set to launch.

  • Kingdoms of the Radio: Charlie Perigo 1 [ficção]

    UNFINISHED DOCUMENTARY, KINGDOMS OF THE RADIO  |  1995

    What fiery creation / Streaking across the skies… I love that fucking song! Oh yea, sorry, man. Are we rolling then? I was just about to say how much we all dug that “lost” Lucious Cole album when it came out. I can remember exactly where I was when I heard that Cole had died. The first time. I guess I’m getting ahead of myself.

    I was driving back up from surfing the Point break all morning with Chae. You’ve already talked to Chae, right? Man, I had just bought the Olds back then, a beautiful 1970 442 in Nocturne Mist. The top was down, of course, and the wind was blowing her long black hair around like she was in a shampoo commercial.

    I had the radio tuned to a pirate station from out in Boonville and they were playing a block of tunes from Cole’s old band, the National Loaf—not really my favorite as I’ve always been more of an R&B guy. Otis, Sam and Dave, that’s my bag. James Brown! Say it Loud!

    At the end of Cut the Loaf, their last big hit before Cole was shitcanned due to his uncool behavior, and alarming—even for that time—drug use, the DJ broke in and laid the trip on us that he was gone. It was still all rumors as to what had actually happened to him. I remember one story said that he had choked on his own vomit while crashing his motorcycle into an airplane. Hey, man, you have to consider the times, we had just lost Jimi, Janis, and fucking Morrison in quick succession, so we were getting used to shitty news and were becoming… uh, a little cynical.

    Chae was a big Lucious Cole fan, especially of the more personal solo stuff he had put out after the Loaf breakup. Personally, I can’t stand that singer-songwriter shit. For my money, if you can’t say it with a five-piece horn section, then maybe you should just keep it to yourself, that’s just me. Chae was pretty upset and moped around the rest of the day playing Cole’s records until I secretly started being glad that he was dead.

    Cole had checked out at the going sell-by date of 27 and everyone made a big deal of him being another member of the “club;” yet another case of wasted youth and potential. I’m here to tell you that 27 didn’t seem all that young back then. A lot of us had grown up hard and fast when the ’60s went up like a house fire next door to a fireworks factory. All the “flower power” bullshit that you hear about those days had been pretty well defoliated in Vietnam before getting stabbed to death by the Angels out at Altamont.

    I did one tour flying Hueys overseas—lift and assault—and got out just before the shit really hit the fan. It was no picnic, but nothing like those poor fuckers had to deal with after Tet. At least I ended up with a marketable skill after all that grind.

    Back home, I found enough action on both sides of the law to keep me flying with enough under-the-table cash and free weed that I was able to by my own chopper before too long and stay high enough to often forget where I had seen it last.

    My main gig before the farm was flying rescue for the County and fire spotting for the Department of Forestry. I was still keeping the hair high and tight at that time, and as a decorated vet, I didn’t attract too much heat. Of course, I ran night missions in the Triangle come harvest time. Back then, I was the only motherfucker crazy enough to make those runs, although our drunk uncle Sam was churning out flyers younger and crazier than me by the DC-8 load.

    You could say that I was mixed up with the family out at Girassol from day one. My man Zongo Khumalo was the one that first got permission to be there from the old lady that owned it, back before things got really weird. I used to party with Zongo when I first got back from Vietnam, back when he was still going by what he started referring to as his “slave name.”

    Zongo is tan as a motherfucker, but he’s not Africa tan, if you know what I mean, and the only two things he’s ever been a slave to are weed and pussy. As you can imagine, we hit it off pretty well.
    I do feel partly responsible for what happened, but when I really think about it, the whole downfall of Girassol was Lucious Cole’s fault from the jump.

    You know, if Chae hadn’t been feeling so bummed out that day, I wouldn’t have taken her out there with me and maybe she wouldn’t have gotten mixed up in all that foolishness. I guess some things are just written in the fucking stars.

    I read somewhere lately that the word disaster actually means “bad star.” That’s really when the trouble started, when that bad star showed up.

  • Superworse—Ben Greenman

    If there is one thing you could say about this slowly aging, psychedelically dented, slightly cynical romantic, it’s that I likes me some metafiction. When Dave Eggers and his crew started up McSweeney’s back in ’98, I thought I had died and gone to a well-lighted, non-denominational heaven (which for some reason, looked a lot like Portland).

    Author Ben Greenman is an editor at the New Yorker and apparently indulges his non-monocled side writing for indie cred publications like McSweeney’s and Nerve. His 2004 novel, Superworse, is supposedly a paperback “remix” of his 2001 hardback effort, Superbad. It’s hard to know to what extent this is true as the novel itself is a Gordian knot of self-reference and too-clever-by-half literary winks and nods. Just the way I like ’em.

    Without giving too much away, the conceit of Superworse is that an old instructor of Greenman’s, one Laurence Onge, is asked to edit the original novel for the soft cover release by Soft Skull Press. Onge is a bit of a megalomaniac and sees references to his history with the author under every well-turned phrase. Onge had gone as far to impose a series of Greenman’s musical numbers onto the earlier version of the book, which have been removed here “at the request of the author.”

    When Greenman quits shuffling the cards and playing with the intricate structure of the 19 chapters of the book, he writes a good short story. Pieces like the twice-removed western, The Theft of a Knife, or the 13th century Florintine political drama, No Friend of Mine, show Greenman’s gift for set and setting, as well as psychological abstraction. Even the more traditionally structured stories in Superworse all leave the reader with a faint sense of unease. Nothing in Greenman’s stories is ever really resolved; we are only seeing as much of the drama as the author thinks we need to see.

    The feeling of vertigo is muted in shorter, McSweenyesque, sketches like, Notes on Revising Last Night’s Dream, and the superlative, What 100 People, Real, and Fake, Believe about Dolores, which masterfully maps the rise and fall of a relationship through short observations from friends, historical and literary figures, and… Superman, who simply believes “that the underwear she wore was the same as the underwear that Lois Lane wore.”

    To illustrate the extent that Greenman, or Onge, or Greenman/Onge has gone to tie all this together, the first nine chapters and the last nine are separated by a pivotal 10th chapter entitled Notes to a Paper You Wouldn’t Understand in which a series of footnotes thematically echo their corresponding chapters while they ostensibly relate minutiae about an absent piece about… well, who really cares, you get the idea. If this all sounds like your cup of mud, well, I’ll see you at the bar.

    Also by this author:
    What He’s Poised to Do: Stories

  • Kingdoms of the Radio: Zongo Kumalo 1 [ficção]

    UNFINISHED DOCUMENTARY, KINGDOMS OF THE RADIO  |  1995

    I came down to San Francisco in ’68… no, ’69; it was right after the whole Manson Family thing. I tried to make something happen out there for a couple of years, but the scene had been getting pretty heavy. It seemed like all of a sudden, there was a lot of speed on the street, really nasty shit. Of course, I was no Boy Scout in those days. After staying up for seven days straight—pretty badly bent, actually—I had what you could call a mystic vision. Sure, you could call it a psychic break, but I prefer mystic vision.

    I was walking down Broadway headed downhill from Columbus past the Condor and the Hungry I looking to pop up Romolo to the bar under the Basque Hotel for a shot and a beer to help focus my spinning eyeballs. I had no sooner passed under the giant Carol Doda sign—the one with the blinking red nipples—that I heard a voice calling me.

    Now, I had been inside the Condor a time or 20 and had run into, or had nearly been run down by, Carol enough times to recognize her voice. This sounded like her, but… not. It’s hard to explain.

    “Fred,” she said. I was still answering to my slave name at that time. “You are now known as Zongo Khumalo.” Heavy, right? Well, Carol Doda calling me out to change my name would have been weird enough, but here’s the drop; she was nowhere to be seen.

    “Fred Williams no longer exists,” the voice explained. “Zongo Khumalo, it is time to fulfill your destiny.” The voice was really starting to fuck with my head. I kind of stumbled off the curb and that’s when I saw it. It was the sign.

    I don’t mean it was a sign, I mean it was the sign. I know it sounds crazy, but the giant Condor sign was talking to me. I must have stood there a half-an-hour in the piss-smelling gutter rapping with the Giant Neon Doda before one of the club’s goons gave me the bum’s rush.

    I had a plan by then anyway.

    I knew this old lady that lived over on Fillmore that had inherited some property up in Mendo. I had been doing some work for her at her place—really nice old pad, lots of old hard wood detailing that you just never see anymore.

    I must have mentioned to her at some point that I used to live up that way so when she got a letter from an attorney telling her that she now owned this place, she started talking about having me check it out for her.

    I didn’t have any plans to go back up the coast at the time. You know, I thought the City was where it was happening and, more importantly, I had done the Emerald Triangle trip. People think it’s easy—living the life of luxury—but it’s not all bare tits and bong hits. You really have to have your act together out there. I shined her on for a few months, not having any intention of taking her up on it. I had seen a lot of those old places that hadn’t been kept up properly. The woods are no joke. You have to keep an eye on the environment or it reclaims what you’ve so carefully carved out as soon as you turn your head.

    All of this was in the back of my mind when the Giant Neon Doda started telling me to go out and prepare a place to ride out whatever was coming down the pike. It really did feel like it was all… what’s the word? Predestined, or something.

  • Gun, with Occasional Music—Jonathan Lethem

    One of my favorite things about Jonathan Lethem’s work is the sense of fun he imparts when playing with the expectations of genre. His first novel, Gun with Occasional Music, takes the noir of Dashiell Hammett and Raymond Chandler and fuses it with the dystopian science fiction of Philip K. Dick and William Gibson, with a little William S. Burroughs thrown in for leavening.

    The life of Gun’s protagonist, futuristic flat foot Conrad Metcalf, gets complicated when his client on a simple peep job ends up murdered. The problem compounds exponentially when the number one suspect, after Metcalf himself, shows up to hire the detective to find the real killer.

    This brings unwanted heat from the Inquisitor’s Office, an all-seeing, not-so-secret police force that has the power to remove “karma points” from citizens as they see fit. To let one’s karma fall to zero is to become a non-person and awards the unlucky a trip to the (literal) freezer. Further complicating matters, is the fact that everyone is hooked on the government-supplied drugs “Forgettol” and “Acceptol” which makes getting a straight answer from anyone an interesting challenge.

    Not satisfied with a run-of-the-mill paranoid run through one of our possible paths, Lethem ups the ante with super-evolved talking animals, including a gun-toting kangaroo (inspired by a Chandler quote reproduced at the top of the story), a concubine sheep, and disturbing “babyheads,” human toddlers who have had the same mutagenic fast-forward applied to them, making them little alcoholic fatalist assholes. Which tracks.

    In 2020, literally moments before COVID fucked everything sideways, the movie trades were abuzz with news that the book was under development for a television series. Johan Renck, best known for his harrowing Chernobyl, was named as director, with Jason Bateman’s Aggregate Films producing. It has been crickets since then, however.

    Talking kangaroos and the like are tricky to pull off without looking ridiculous, and like the creatures in David Cronenberg’s 1991 take on Burroughs’ Naked Lunch, perhaps left to the individual widescreens in our heads.

    Also by this author:
    Chronic City: A Novel
    The Wall of the Sky, the Wall of the Eye

  • Submission (A Correspondence in Three Parts)

    (1)
    Greetings XXXX XXXXXXXX editors,

    I wanted to thank you all for sending my return envelope back; I’m just not sure what kind of message you were trying to send. Was the empty envelope a metaphor for the howling void that we all must someday face? Or perhaps my submission just left you speechless and unable to respond? I’m sure that with time, and the proper medicine, I’ll suss it out and all will finally be revealed… or, I could just ask. So, ’erm… what’s the deal?

    Yours envelopically,
    Ray Larsen

    (2)
    Hi Mr. Larsen,

    I hope you haven’t been deteriorating into madness while awaiting our reply.

    I apologize for the empty envelope and the subsequent foray into the land of unanswered questions. While I would like to claim artistic genius and expressive intent, it was sadly just a mistake. As the assistant editor (i.e. graduate student) I possess a very fine skill set for stuffing, licking and sending envelopes. Your envelope, unfortunately, missed the crucial first step. And now I must re-evaluate my postal prowess, sigh.

    Well, at the very least I can relieve your sufferings—the envelope was meant to hold a lovely blue little slip, bearing our logo and this message: “Thank you for your recent submission to XXXX XXXXXXXX XXXXXX. Though we are unable to include your work in this issue, we are glad that you gave us the opportunity to consider it. We wish you success in placing your work elsewhere. Thanks again, The Editors.”

    It tries very hard to be friendly while inevitably informing you that we are crushing dreams. We don’t like that part of the job much and we know that you like it even less, so really, I’m quite sorry that you were subjected to the empty envelope.

    Really it’s quite a profound little piece of paper. The color is really quite nice. And the size is wonderful. I’ve spent tens of minutes in the copy room, brushing off my math skills to figure out exactly what size will fit into a variety of envelopes.

    If you would like the little blue slip that the envelope was meant to contain, I’ll happily send it along. It’s a very nice slip.

    Yours apologetically,
    XXXXXXX XXXXXX
    Assistant Editor
    XXX

    PS Hopefully this little blunder doesn’t mean you will be too incapacitated by the proper envelop-related medications to submit to us in the future!

    (3)
    Greetings Ms. XXXXXX,

    Thank you for your enlightening, entertaining, and timely response to the vacant envelope imbroglio. At no time did I mean to impugn your prowess as it applies to stuffing, licking, etc. I am sure that the sheer volume of correspondence lends itself to the occasional unintended mystery.

    Please don’t let this aspect of your responsibilities weigh any heavier on your conscience than does the slip itself. I, for one, have started an art project with the myriad beautifully colored papers that have been sent my way. I am sure that the one you have been charged with discharging is lovely.

    I imagine it to be a medium Persian blue, as was the binding of Bailey’s A Treatise on the Seven Rays, reflecting a possible theosophical bent on the part of XXX. Or perhaps it is a less esoteric, but no less historically relevant, Prussian blue—one of the first synthetic pigments ever developed, and interestingly, an antidote for heavy metal poisoning.

    I don’t want to make more work for you, however, and I will simply wait until my next submission works its way through the editorial process. I will force myself to be content with the seasonally apropos light spring green version I still hold and cherish.

    Yours in the wild blue yonder,
    Ray Larsen

  • What’s in a Name? [Pt. 2]

    I was born Raymond Andrew Larsen in late-July of 1966, closing in on six decades ago as of this writing. Raymond is a family name, after a great-uncle on my father’s side, one of five born to an immigrant couple from the Azores. I think he helped keep my father on the straight and narrow after his father was out of the picture, a task with which even God themselves had limited obvious success.

    I have long suspected that my middle name came from Andy Nickolatos who happened to own the Black & White liquor store on the corner of Main St., a block and half from the house. I can neither confirm or deny—given that all parties, apart from myself, have passed on*—that the bestowal of Andrew either settled a bet or a sizable tab. I wonder what a middle name was worth in mid-60s commodities, and what that might translate into 21st-century dollars. It was probably a dodgy investment at best.

    By all accounts, my grandfather, a Dane named Larsen was a real piece of work. He and my grandmother, Elvira, were divorced—a rarity for Catholics in the 1950s—and he died when my dad was still pretty young. To this day, I have never seen an acknowledged photograph of the guy, although after dad passed I found a souvenir Los Angeles restaurant pic of him as a young kid sitting with two uptight-looking people. Not his usual crowd, to be sure.

    I know that Larsen in Danish means “son of Lars.” Having lived in California my whole life, the only Lars I know of is the drummer for Metallica, but we are roughly the same age. It would have been nice to fall into some of that Master of Puppets money, though.

    As dad got older, he dropped more stories of his strained relationship with his pater familias, none of them all too flattering. Of course, it was Louie’s name to claim or disavow, so we’re stuck with it, a tie to a lineage I really know little about. I’ve read that, like the Portuguese, the Danes have historically been really into boats, fish, and faded empire, so they should be my kind of people. Maybe we just got a bad one.

    After living under the Scandinavian surname for a half-century, I figured my pen name should pay homage to the side of Dad’s family I actually related to. Leão is Portuguese for lion, and given that, if pressed, I identify as a double Sun sign Leo, I can get behind that.

    Part of writing under another name, is the freedom a different headspace can afford you. At this point, Ray Larsen has done all kinds of different things, but they have followed a certain, if avowedly circuitous, path. This Leão motherfucker, though, who knows what shenanigans he might get up to?

    Quite coincidentally, the statement, “I read,” is translated in Portuguese as, “eu leio.” As far as Roman goes—or incongruously, “Román,” which denotes a Hungarian provenance (I don’t remember what I was smoke… erm, thinking)—it has historically simply meant, “a citizen of Rome.” If you’ve read your Phillip K. Dick, you’d know that we are all citizens of the Roman Empire, which never really ended but manipulates our materialistic and spiritually bankrupt world to this day.

    Wow, that got dark.

    As far as I know, Román Leão has no middle name, although he may be taking bids.

    *OK, Mom is still around, but either a) those characters cooked up a story that she believed. It was pretty early in the relationship, or b) she knew the gross percentage of GDP that the tab entailed and signed off on it. Either way, she ain’t sayin’.

  • What He’s Poised to Do: Stories—Ben Greenman

    Ben Greenman’s wistful collection of short stories, What He’s Poised to Do, begins at a remove. For a book that both posits and ponders the importance of interpersonal communication, Greenman chooses to keep readers at arm’s length—at least until he’s gotten to know you better. His use of characters identified only by third-person pronouns in the title piece underlines the faceless isolation that an unhappy businessman out on the road feels as he engages in a cool affair with a woman who works at his hotel.

    There is an echo of the relationship between Lydia and Ricardo Reis in Jose Saramago’s The Year of the Death of Ricardo Reis in that even within an ongoing carnal relationship, Greenman’s guest remains alienated from everyone to a debilitating extent. The businessman’s one remaining open conduit of exchange is the series of postcards he writes the woman, his wife, and his son. Even this method of expressing his feelings stumps him at the end of the story, revealing that Greenman’s title is, if not ironic, then overly optimistic.

    “He sits down at the desk, finds a pen, and holds it over a postcard, uncertain exactly what he’s poised to do.”

    Greenman underscores this theme throughout the collection by postmarking the first page of each story, indicating the date and place from which it was sent. Even a cursory glance at the contents page gives the reader a pretty good idea of the breadth of Greenman’s stages for his universal passion play; settings range from North Africa, in 1851, to Atlanta, in 2015, and everywhere (and when) in between—including the imagined Lunar City, in 1989, and the confounding Australindia, in 1921.

    One standout piece, To Kill the Pink, is written from Harlem in 1964 at a time when both racial and personal boundaries were burning. Greenman writes as an African-American man who, after a tragic incident, decides to travel to Malawi to better understand his heritage and the extraordinary woman he loves. When he asks her how a “twenty-four-year-old black girl who’s never been out of New York City” knows so much about the world, she replies, “I always paid attention… while you were busy studying the human comedy, I was trying to figure out the human drama.”

    “You’re the sad mask; I’m the happy mask,” he answers. “Takes both of us to put on a play.”

    While Greenman’s gift for whimsy does surface from time-to-time, owing perhaps to the impossibility to cage such a formidable beast, he is wearing his sad mask for much of What He’s Poised to Do.

    “I write often about sadness and loneliness … the only cure, I think, is intimacy,” Greenman writes in About the Author, “which is what the people in my stories are struggling to achieve.”

    It is telling that Greenman’s stories revolve around written correspondence, a form of communication quite possibly in danger of becoming archaic. How will future generations understand us, or how will we ultimately understand ourselves, if our written interactions diminish to texts scattered on the digital wind?

    If there is a lesson to be had from this book, it’s this: Go write a letter to someone you love.

    Also by this author:
    Superworse

  • Genesis Angels: The Saga of Lew Welch & the Beat Generation—Aram Saroyan

    At the behest of poet Ted Berrigan, a young Aram Saroyan interviewed a becalmed and nearly forgotten Jack Kerouac in 1967 for the Paris Review. Saroyan describes this meeting much later in an article for The Poetry Foundation. It is a watershed moment, one generation testing the next, and Saroyan walks away with Jack’s benediction, “You’ll do, Saroyan.”

    I doubt that Kerouac had in mind for the young writer to go forth and pen the History of the Beats, but 12 years later, Saroyan attempted just that. Perhaps the tired Kerouac recognized a comrade-in-arms, as Saroyan’s sensibilities would have fit right in with the tea-loving, electrified wordslingers of the past. His official biography for his collected papers at the University of Connecticut Libraries reads, “In the late 1960s Saroyan experimented with marijuana and began to develop a career as a poet.” Sounds about right; let’s go!

    Genesis Angels is no straight-ahead biography, but a long prose poem in its own right. Saroyan attempts to capture the feeling of the era, the mad rush toward an uncertain future and away from a stifling mid-century American mindset that had all but disappeared by the time he started his journey.

    Saroyan identifies the Eisenhower years with the monster movies that were throwing their own existential warnings up on the screens of the ’50s and early ’60s. “We were being condemned to endure a complete rescheduling of human experience: our routines no longer in any relation to the planet or the landscape or our neighbors. We had willingly locked ourselves up with comfort and convenience and suffered an immediate transformation. It was we ourselves who had become The Thing, The Blob, inside our private Houses of Wax.”

    The degree that Saroyan is successful in capturing the Beat gestalt, from the far remove of 1979, depends on how susceptible you are to that particular brand of amphetamine-driven patter. Me? I can’t get enough.

    On Jack Kerouac meeting Neal Cassidy: “Now this is where it did combust because what happened was Jack saw Neal and listened to his wild, never-get-a-word-in-edgewise, spontaneous patte… this man was a rapid, word chasing man chasing word chasing man chasing time chasing space—lookout! just like his driving—saved by exposure and the rare posture of ecstatic brotherhood.”

    On Allen Ginsburg: “Allen had the conceptual center of the universe in his belly and breath… so that then he could inhale and exhale planets, and snow storms, windows, and paper towels, Mickey Mouse and Hollywood, tits, and cocks, ambushes, and semesters, toothbrushes, and Coca-Cola—the whole litterbug earth with Indians and business man and women giving birth, inside his nature, and available.”

    Strangely absent from this cluttered stage is Welch himself. Whether outshined by the titanic personalities around him, or just a quiet guy whose poems did the speaking for him, I didn’t come away with any better sense of the man than when I started. This isn’t a deficit in research; the University of Connecticut’s Saroyan collection contains a recorded interview with Welch and David Meltzer from 1969, and Saroyan himself interviewed poet Joanne Kryger about Welch in 1977, presumably while doing research for the book.

    Perhaps the problem is that—like a total eclipse, or some other natural rarity—Welch began disappearing as soon as he appeared. You have to catch these things when they happen or you’re out of luck. Until next time.

    Saroyan best captures Welch’s spirit in a few throw away lines describing the importance of becoming a poet:

    Be a poet and save the world forever.
    And don’t forget to take a sweater.
    Put this flower in the peanut bottle with some cold water.
    It’ll be here when you get home.
    That’s the way the universe works.

  • Put on This Record: Funland—Unknown Instructors [2009]

    Shakespeare had it right. You really can’t trust anyone that doesn’t appreciate music. All of our greatest thinkers eventually seem to come to the conclusion that we are only vibrations in the great void. Call it the Big Bang Theory, call it what you will, but how could one go through life closed to the most primal and necessary form of human expression?

    Into the late spring of our discontent, like a silver dollar dropped down an outhouse shitter, the third, and most cohesive, album from Unknown Instructors—an unlikely supergroup of sorts—could just be the vital blast of L.A. punk you didn’t know the situation was calling for.

    On Funland, the planet’s premier punk rock rhythm section of Mike Watt and George Hurley consistently push each other in more and more complex jams supported by Saccharine Trust guitarist Joe Baiza playing at his most insectoid. Whereas Hurley played pretty straight-ahead on the previous album, producers Baiza, Joe Carducci, and Dan McGuire saved the most Rashied Ali-inspired grooves for its follow up.

    Recorded at the same time as 2006’s The Master’s Voice, Funland is no mere collection of second-rate tracks, but a cohesive work of art that follows a thematic surge. Of course, that theme is loose enough to include Pere Ubu’s père David Thomas (R.I.P.) wailing as if existentially wounded on Afternoon Spent at the Bar, Sunny; while elsewhere, poet Dan McGuire reprises his role as a modern-day Jim Morrison with a real penchant for language rather than just a vehicle for getting more whisky and leather pants.

    McGuire has an eye for the details of the less-than bucolic childhood that many of us aging suburban California kids can relate to. He remembers the forgotten places, the weed-strewn empty lots, and trampled-down hurricane fences, but he’s not the only poet on deck.

    Whereas Voice was a hard-charger right out of the gate with the swirling Swarm, the opening salvo on Funland is Maji Yabai—Japanese slang originally meaning something like, “Oh, shit,” and morphing in recent years into something like “sick” or “bad,” but in a good way—an introspective Watt-spiel.

    This paints the scene in a peculiar midway twilight. The unmerciful heat of the summer sun has finally abated and that belly full of PBR and corndogs isn’t going to hold you. It’s time to make some decisions. As the buzz threatens to loosen its grip, you can opt to reinforce with another semi-cold one, or pop out to the car for something stronger.

    Funland’s hard stuff includes a cover of Captain Beefheart and the Magic Band’s Frownland, welding its odd gravitas to the album’s own weird sense of bacchanalian carny freedom. In addition to Thomas’s unique contributions, artist Raymond Pettibon’s unexpected jazz-influenced rap on Lead! proves that his take on Voice’s Twing-Twang wasn’t just an anomalous laugh.

    Pettibon has a surprisingly direct and, dare I say it, swinging delivery that may just cause me to rethink my idea of him as a quiet, misanthropic artist; or someone you might meet working the ring toss. It’s good to remember not to confuse the artist with his art.

    Funland is all about pushing the boundaries of what you think you know about these musicians, and like the famous Tilt-A-Whirl, if you don’t hurl, you just might have the time of your life.

  • Shit From an Old Notebook: Dancing with Mr. D

    So, I’m sitting on the patio of a coffee shop in Arcata… and I know what you’re saying, “Of course weird shit is going to happen, it’s Arcata,” and that’s fair, but hold on.

    I’m outside with my wife and the pup, just kicking it after a stunner of a day, and who comes out, does an over-theatrical stretch, and stands there looking out at G Street? Death.

    It’s the most beautiful day I’ve ever seen in Humboldt County, I’m enjoying my coffee in the waning sunlight, and fucking Death shows up. Now, I’m well aware that it there’s a chance it was some person dressed like Death—the flowing robes, the big white skull for a noggin, gloves (which is surprising since I always had Death pegged for a hands-on kind of guy)—but I have to ask, yet again, would that any less weird?

    Being the curious—and occasionally not very bright—type, I ask, as many would, “What up, Death?” Big mistake. Big D was just waiting to tell someone that we were on the cusp of something called Walpurgis Night. Death read the blank look on my face and offered, “It’s like another Halloween.” Fair enough. Is there candy? “’Erm… no.”

    Death went on to explain that it’s more for witches than the more inclusive “All Spirits” kind of affair. Traditionally there are wild dances, bonfires, and orgies… and that’s when Death acknowledged the awkward conversational turn. “We probably won’t go that far tonight,” Death back-peddled.

    OK, Death, if you’re reading this, sorry we slipped out, but you know, shit to do and all that. As busy as you must be, I’m sure you understand. Catch you later (way later, I hope). I’m sure you’ll end up with the opportunity to screw me before it’s all said and done, just not right now.

    But, I’m sure that’s what they all say.

    Art/Praetorius Blocksberg Verrichtung, Johannes Praetorius, 1668

  • Always Something—Jim Dodge

    I am always hoping that Jim Dodge will surprise us all and finally announce the novel he has long been threatening to finish; his most recent, Stone Junction, dropped in the far-distant reality of 1990. A collection of poetry, Rain on the River: New and Selected Poems and Short Prose, followed twelve years later in 2002, but only served to whet our appetite for his deft wordplay and masterful use and abuse of the English language.

    Whenever I get the itch, now that the all-mighty algorithms know everything, I’ll check in to see what the good ol’ apple picker has been up to. Imagine my surprise when I discovered that Idaho’s Limberlost Press, a beautifully archaic letterpress printer of chapbooks, broadsides, and I’m guessing… manifestos, had published a new collection of poems, Always Something, in 2023.

    Limberlost’s publications are artifacts from an anachronistic world of archival-quality papers and hand-sewn assembly—not a shout against the digital darkness, but more of a whispered word of kinship in a sun-dappled meadow, but I digress.

    I recognized one of the poems, the sublime, Owl Feather, from a broadside that Dodge was gracious enough to send me upon the publication of my first novel, welcoming me into the guild ten years ago, so this collection has been simmering for a minute, all the better to let the flavors infuse.

    I have no doubt there are powers far beyond us
    Because the grey-and-brown barred wing feather
    From a Great Horned Owl that I found this afternoon
    While walking the old logging road above McKenzie Creek
    Seemed beautiful beyond the ability to behold it…

    Dodge’s capacity for wonder has always been a feature of his personality and his work, it’s in evidence here as is his prankster’s sense of humor. In A Manual of Sabotage, he incites delightful mischief.

    Of course, only a heartfelt kiss can derail a munitions train,
    Explode the tube in a color TV,
    Destroy a computer’s mother board,
    And get you so exited
    You want to feel completely totaled and totally complete.

    Further imaginings should be enough
    To get us together to wreck more stuff.


    I, for one, am ready.

    Limberlost Press



    Also by this author:

    Rain on the River: New and Selected Poems and Short Prose

  • The Buzzing—Jim Knipfel

    I don’t know if Jim Knipfel presaged the conspiracy-laden epoch we find now ourselves mired in, or perhaps somehow helped to manifest it—a conspiracy theory in its own right. In 2003’s The Buzzing, we are treated to the sensational spinout of newspaper reporter, Roscoe Baragon, once a globe-trotting newshound who is now content with covering the “freak beat” for the New York Sentinel, itself a not-yet-failing enterprise, but the check is in the mail.

    All the time-honored tropes of noir are present here. Part of the reason Baragon stays at the paper is “the fact that was working in what he assumed was the last office space in New York City in which he would be allowed to smoke at his desk.” Instead of a girl Friday, he has a city forensic pathologist, Emily, who also spends too much time holding down a stool at their favorite dive bar after work.

    Of course, no noir would be complete without a city editor riding our protagonist’s ass about filing a story. Ed Montgomery revels in his roll, “sleeves rolled up, tie undone, a porcine face that grew a magnificent shade of magenta whenever he got angry—and he was almost always angry.”

    As a former newspaperman myself, Knipfel’s time writing for the New York Press helps lend a certain credence to his depiction of the business at the cusp of the information age. Baragon still has to occasionally get off his prodigious posterior to—in the parlance—slap some shoe leather in order to put his increasingly unhinged copy together.

    At one point, lost in conspiratorial mania, he steals an atlas (an atlas!) to physically connect the dots of a far-fetched theory. At this remove, it comes off as quaint, and leads one to wonder just what sort of insane shit someone could concoct if all of the world’s information was at your fingertips. Oh. Oh, yea.

    It would be a disservice to lay out all of the disparate points that Baragon connects like some fucked up The Family Circus dotted-line recap, but let’s just say it ends up containing proverbial multitudes. Godzilla? Check. An undersea toga-wearing real estate cult? Sure, why the fuck not? It is all certainly no stranger than imaging that the Democratic party was running a child sex trafficking ring out of the non-existent basement of a DC pizza parlor.

    It seems that Knipfel has slowed down, his last novel, Residue, was published in 2015. Perhaps the retinitis pigmentosa that has plagued him his whole life has finally caught up with him, although his website claims that “his other senses have been honed to almost superhuman levels, save for those dulled flat by years of chain smoking, alcohol abuse, and punk rock.” It would be a shame if he is sitting these days out as he certainly had our number from the jump.

    “Oh, all the conspiracies were evil and horrible and terrifying, yes—but where would they be without them? There has to be a certain tingle of superiority in knowing you were the only person in the world who really knew what the score was. Conspiracies, mover, also help make the normal redundancies of life a little more bearable. More than bearable even—they made things exciting.”

    Penguin Random House

    Also by this author:
    These Children Who Come at You With Knives, and Other Fairy Tales: Stories

  • Gentleman of the Road: A Tale of Adventure—Michael Chabon

    Since he left the smoky environs of Pittsburg behind, transplanted Berkeley author Michael Chabon has evolved into quite a chameleon—trying out genres in the same way the rest of us might try on hats. His preceding novel, The Yiddish Policemen’s Union, was all about the fedora. With Gentlemen of the Road, Chabon was looking for something a little more… exotic.

    With a scant page count of 200-and-change, Gentlemen is no more than a palate cleanser by Chabonian standards. Its brevity does give the book a momentum that carries its relatively thin conceit forward, whereas a heavier tome may have collapsed under its own weight.

    Chabon’s inspiration for the story was outlined in his working title for the book: Jews with Swords. With Gentlemen, Chabon shoots for an adventure in the old-school style of Robert Lewis Stevenson or Burroughs (Edgar Rice, that is—decidedly not William S. or Augusten).

    The wonderfully rendered illustrations by Prince Valiant artist Gary Gianni help make that classic connection. His depiction of the gaunt, chapeau-obsessed Zelikman with his sword-sized surgical tool (since Jews, by Frankish law, weren’t allowed to bear arms in 950), and his partner in crime—the massive Abyssinian Amram and his ever-present Viking battle axe—took me back to the hours I spent lost in vintage editions of Treasure Island and Defoe’s Robinson Crusoe that my grandmother had stashed in her basement.

    My only complaint with Gentlemen is that Chabon seems to be writing by-the-numbers at times. Whereas, I have often been flat-out amazed by his imaginative plot twists, this project seems satisfied to inhabit an exotic landscape and then defer to the dictates of genre. Unless, and I don’t think this was hinted at, the spiritual leader of the Khazars foresaw the entire chain of events—from the fall of the original leader, or bek, onward—and orchestrated them to ensure… well, you’ll just have to read it yourself.

    Random House Books

    Also by this author:
    The Yiddish Policemen’s Union: A Novel

  • The Wall of the Sky, the Wall of the Eye—Jonathan Lethem

    This collection of short stories from Berkeley-by-way-of-Brooklyn writer Jonathan Lethem explores the same sort of absurdist science fiction landscape as his novel Amnesia Moon. These seven pieces show the depth and breadth of Lethem’s creativity as he explores the outer reaches of genre.

    The stories that were previously printed in Asimov’s Science Fiction magazine are among the standouts in this collection and speak both to the editor’s catholic (small c) tastes and Lethem’s ability to inhabit vastly different worlds and report back with chilling clarity.

    The Happy Man—the lead off tale of a guy who spends half his time in Hell and the other half trying to make up with his increasingly distant wife and troubled teenage son—sets the tone for the volume. In this troubling story, the reappearance of a ne’er-do-well uncle in his Earth-bound life begins to draw the two worlds into closer proximity. Lethem telegraphs his final blow but it is devastating all the same. The story stays with the reader and reveals the barely-disguised malice in our classic fairy tales.

    Vanilla Dunk, is a slightly futuristic story of professional basketball in a time where the sport is in an advanced state of atrophy and has begun to consume itself like a snake eating its own tail. Powered exosuits give players the sampled skills of the greatest athletes of all time, turning the game into a live fantasy league.

    Lethem uses the post-sport spectacle to probe the issues of race (when a white hotshot draws the much-vaunted skills of Michael Jordan) and fame like a tongue returning to the socket of a broken tooth. This is quite a different tale than The Happy Man and it’s a testament to Lethem’s deft touch that one doesn’t need an understanding, or fondness for that matter, of basketball to enjoy it.

    Not every story in The Wall of the Eye is a slam dunk, but the penultimate tale, The Hardened Criminals, shows what an incredible imagination Lethem possesses. To give away the story’s main conceit would be a crime in and of itself, but it ends up being a chilling indictment of the prison industry and the way that it is designed to strip away the humanity of those stupid, crazy, or unlucky enough to fall under its purview.

    Lethem is a prolific novelist as well as short story writer and at times his prose reads dangerously close to poetry as in this introduction of the prison in The Hardened Criminals:

    The prison was an accomplishment, a monument to human ingenuity, like a dam or an aircraft carrier. At the same time the prison was a disaster, something imposed by nature on the helpless city, a pit gouged by a meteorite, or a forest-fire scar.

    Harcourt Brace & Co.

    Also by this author:
    Chronic City: A Novel
    Gun with Occasional Music

  • The Implacable Order of Things—Jose Luis Peixoto

    I had been on a bit of a discovery voyage of Portuguese literature, riding waves of Saramago, Camões, and Pessoa, when I happened across José Luís Piexoto’s first novel, The Implacable Order of Things, which suddenly and effectively sank it.

    It’s not that Piexoto, a poetical author of great skill and dexterity, is not a good writer; he is. This musing of one of his characters is one of the most beautiful ideas I’ve read in a long time: “I think: perhaps the sky is a huge sea of fresh water and we, instead of walking under it, walk on top of it; perhaps we see everything upside down and earth is a kind of sky, so that when we die, when we die, we fall and sink into the sky.”

    It’s not that I was unfamiliar with the fatalistic tendencies of my peeps, either; I am. Intimately. After all, the Portuguese invented fado, the saddest music on the whole planet. The space that Piexoto creates, however, is a whole ’nother sun-scorched ball of dirt.

    In Piexoto’s world, the Sun itself is more than the beneficent stellar body that we know and love, it is an omnipresent, malicious torturer, drying up even the smallest hope in an oppressive blast furnace of despair.

    In this dying—grindingly poor—village, even the devil seems trapped, forced to downscale his machinations to petty manipulations of the insecurities and jealousies of simple villagers. God himself has already caught the last ass out of town, abandoning the church and ecclesiastical duties to the devil who, to his credit, attends to all weddings and funerals with a huge grin, knowing all too well that no matter what people do, they are fated only to become more miserable as the days drag on.

    Peixoto employs a bit of magical realism that gives the whole book the feel of fable or of some sort of black scripture. The story starts out with the devil hinting very strongly to a shepherd that his wife is having an affair with a giant (who in reality has been raping her since her father died). The shepherd tells him to let the giant know that if he sees him around, he is going to smash in his face. This leads, predictably, to the shepherd getting beaten to within an inch of his life.

    As soon as the shepherd is well enough to walk again, he is right back downtown looking for trouble, and the giant, once again, beats him within an inch of his life. The miserable denizens of Peixoto’s world are lacking any sense of free will and often are dragged toward their unhappy fates by limbs that seem to be driven by nothing but a howling sense of entropy. The only character who takes matters into its own… well, teeth, in this case, is the shepherd’s faithful dog.

    When its master finally confronts the horror of his situation and hangs himself, the dog rounds up all the other dogs in the village and tears the giant limb from limb. Score one for the dog. By the second half of the book, we have burned through the first generation and are on to watching their progeny wither in the brutal heat.

    When we get to the one-legged, one-armed carpenter who grasps at happiness by marrying a blind prostitute after getting her pregnant—only to lose them both in childbirth, saw off his own leg, and burn down his (now no-legged) self and his shop for good measure—I started to get the sense that this book had become no more than misery porn. How much worse could things get? Worse. Implacably worse. Worse until the world itself (mercifully for the reader, but without a shred of pity for anyone else) grinds to a halt.

    Score one for the devil.

    Knopf Doubleday Publishing Group

  • Out on the Serpentine [poema]

    I walk the serpentine
    Path where dust settles
    Late and yellowjackets prey
    On bones left standing in
    The middle of the road

    I walk the ages
    Past where Gypsies camp
    Back in the pale shadows
    Of summer slowly turning to
    The harvest downwind

    I walk beside you
    Now and do not profess
    To know the mystery of days
    Caught in amber or what happens
    Next; I wonder myself

    Sometimes

    Photo/Ray Larsen

  • When That Rough God Goes Riding: Listening to Van Morrison—Greil Marcus

    Funnily enough, considering the subject and theme of this book, reading übercritic Greil Marcus is a lot like listening to Van Morrison. The experience can be illuminating, frustrating, transcendent, and solipsistic—often in the same paragraph or song.

    Like Morrison, Marcus has been following his own path for quite some time, and anyone who has a passing familiarity with either of them will always be able to find the gold hidden down a backstreet or way up top a flight of fancy.

    My struggle with Marcus is that his exhortations can be the definition of pedantic, referencing far-flung obscure artists and works in order to make a point that no one can truly argue with, having no idea who or what he’s is talking about.

    On the other hand, like listening to Morrison himself, if you’re willing to put in the work, you can be turned on to artists, books, movies, etc. that may later become indispensable to your life. What Marcus does here is doubly off-putting, as he spends a great deal of time extolling the virtues of tracks and performances of Morrison’s that are unavailable anywhere but bootlegs, a stream that Morrison spends a great deal of energy to dam, enlisting the services of Web Sheriff to scour the internet of any traces of illicit music.

    I was lucky enough to have a copy of the 1971 KSAN Pacific High Studios show which is referenced pretty heavily, but as far as Caledonia Soul Music, which according to Marcus is the key to the whole thing, I’ll just have to take his word for it.

    In this book, Marcus eschews most biographical information, much, I can imagine to Morrison’s relief, only pointing out pertinent signposts along the way. The whole focus is on those moments of unforced transcendence that Marcus believes paint a secret map through the jungle of Morrison’s work. As with any great artist—and to put my cards on the table, I believe Morrison to be one of the greatest singers of the last 40 years—what pieces resonate with your soul at any given time is completely subjective.

    I think Marcus is either trying to be cute, or is just being lazy to discount in one fell swoop everything Morrison put out between Common One in 1980, and Tell Me Something in 1996. Marcus talks about looking for the “yarragh” in Morrison’s performances, that moment that transcends language and artifice to, as Morrison once sang, “get down to the real soul, I mean the real soul, people.”

    To take a page from Marcus’ book if I may refer to a performance now out-of-print and unavailable, as a child of the ’70s I knew Morrison primarily as an AM radio hit maker and it wasn’t until PBS ran Van Morrison The Concert, recorded at New York’s Beacon Theater in 1989, that I was exposed to Morrison the mystic.

    I don’t recall which number he used to launch himself into the “yarragh,” but all of a sudden, he was growling and barking, not like a madman, but like a genius. I remember standing in front of the TV just slack-jawed; this was someone who warranted further investigation. All of a sudden I understood why someone like Morrison would rankle against cheap stardom. It wasn’t the fucking point. This, this is the point. And although Marcus’ examples are personal to his own experience, as far as catching the desperately vital point of it all, we really do see eye-to-eye.

    PublicAffairs

  • Refusing Heaven—Jack Gilbert

    Poet Jack Gilbert, who passed in 2012, was 80 years old when he published this collection of poems in 2005. That’s a long time to observe how life works and Gilbert has spent much of it in introspection. He was there in San Francisco during the first flowering of the Beats, yet he never really became one of the gang.

    To read Gilbert is to realize that he is a man who relishes his space; many of the poems in Refusing Heaven paint a picture of self-imposed exile, whether physically, as in a remote Greek island, or spiritually—hence the title. This tendency to separate himself from his peers does not paint him as a curmudgeon; quite the opposite is true. It seems that Gilbert appreciates the contrast between company and isolation so that each might stand out more clearly in relief.

    In the Buddhist-inflected poem, Happening Apart From What’s Happening Around It, Gilbert starts out by giving practical examples of his philosophy. There is a vividness to eleven years of love because it is over. A clarity of Greece now because I live in Manhattan or New England. Later in the poem he observes a spiritual aspect to this clarity. When I was walking in the mountains with the Japanese man and began to hear the water, he said, “What is the sound of the waterfall?” “Silence,” he finally told me. The stillness I did not notice until the sound of water falling made apparent the silence I had been hearing long before.

    After absorbing this bit of enlightenment, Gilbert then gets to the crux of the matter by positing one of the greatest questions of all time. I ask myself what is the sound of women? What is the word for that still thing I have hunted inside them for so long? In the poem, Moreover, Gilbert finally reveals what he suspects that transitory and elusive thing to be. We are given the trees so we can know what God looks like. And rivers so we might understand Him. We are allowed women so we can get into bed with the Lord, however partial and momentary that is.

    Perhaps it is only with the wisdom that 80 years affords that one can strive to understand women one moment while deftly distilling poetry’s worth and reason down to its essence the next. We lose everything, but make harvest of the consequence it was to us. Memory builds this kingdom from the fragments and approximation. We are gleaners who fill the barn for the winter that comes on.

    Refusing Heaven is a rare chance to experience a poet still in bold command of his powers looking back at what was a long life full of achievement and adversity in equal measure. In the sublime, Failing and Flying, he reminds us that although we tend to focus on the cautionary aspect of the Icarus myth, we forget that he actually did fly quite well. For awhile.

    Gilbert seems to be summing up his feelings about his own looming mortality when he writes: I believe Icarus was not failing as he fell, but just coming to the end of his triumph.

    Knopf Doubleday Publishing Group

  • A Supposedly Fun Thing I’ll never Do Again—David Foster Wallace

    While some authors make you feel stupid for even trying to read them, I’m looking at you, James Joyce, others seem to immediately give the ol’ noggin a boost. While working through this collection of “essays and arguments” by the late David Foster Wallace—sometimes referred to as our generation’s Joyce for his long and obtuse novel Infinite Jest—I made a list of 20 words I had been lamentably unaware of, as well as two that, apparently, he made up: ablated, anaclitic, appurtenance, belletristic, commissure, decoct, enfilade, erumpent, espial, exergue, frottage, hieratic, lalations, otiose, preterite, sedulous, threnody, titivation, ventricose, weltschmerz

    Of those 20 words, I have to say that the most amusing discovery for me was frottage, which I’m sure that some of you already know means, “the act of obtaining sexual stimulation by rubbing against a person or object.” I’m not here to judge; I’m just sayin’. Erumpent is also pretty fun to say, and could actually be onomatopoetic if you were to listen very, very closely.

    As for the two Wallacisms that don’t seem to exist in the English language, some DFW obsessives have pointed out that katexic could be derived from Freud’s katexis referring to “the process by means of which libido energy is tied or placed into the mental representation of a personality, idea, or thing.” In this respect, Wallace’s writing in toto could be viewed as katexic. The energy that must have gone into building such a vocabulary and the means to swing it around as effectively as he did—the creation and subsequent projection of “David Foster Wallace” as a literary force—could easily be imagined as a gloriously sublimated primal urge.

    Plumeocide is another matter. Wordnik member vbogard22 has postulated that “plumeo- could come from the Latin pluma, which means feather or pen [when] added to -cide (Latin, kill) would come to mean something along the lines of ‘death of the pen.’”

    Given Wallace’s tragic end by his own hand, the fact that he may have coined a word for the silencing of a writer is a bit prescient, although I am buoyed by the acknowledgment that the only way to get a writer to shut the hell up is by resorting to plumeocide.

    I was also beguiled, beleaguered, and besotted by Wallace’s use of language, often all at the same time. In much the same way that Wallace thought he was a decent tennis player until he got the opportunity to view the pros in action, I thought that I could, on occasion, craft a clever line. Now I’m reminded that there are players out there operating on a whole different plane.

    I almost forgot to mention that the book is really funny. Cheers to you, DFW, wherever you are.

    Now, about that Goddamned Jest

    Back Bay Books

  • Pendulum Flashing [poema]

    You and I
    Wander Telegraph
    Looking for frankincense
    And myth
    While the homeless man six doors
    Down
    Shakes a cup of coins
    (silver against tin)
    To the secret pulse
    (the jingle of bells)
    Six doors down
    (the taste of copper)
    In the focused heat of autumn
    We both know
    A sudden change of direction
    Leaves ripples in the air
    As thick as ropes
    And just as binding

  • (Not That You Asked): Rants, Exploits, and Obsessions—Steve Almond


    I picked up this collection of essays from Boston writer (and Bay Area native) Steve Almond on a total whim and found it to be one of the explosively funny books I’ve read since Ozzy’s autobiography. Almond is just nuts—and honest to a fault—which may or may not be a product of his insanity.

    Not that You Asked is organized thematically with the chapter entitled About My Sexual Failure (Not that You Asked) being the most cringe-worthy of the bunch. In the extended piece Shame On Me (Why My Adolescence Sucked Donkey Cock), we are regaled with tales of his late-blooming sexuality via the water jets in the Almond family hot tub; hand jobs con sharp, inexperienced, fingernails; the family dog’s rooting out of a used condom from the trash and subsequent tug-of-war with Almond’s mother leading to predictable, but no less horrifying results; and getting publicly busted for shoplifting condoms and Sta-Hard gel from Longs Drugs.

    Chestfro Agoniste and My First Fake Tits reveal waxing and breast implants to both be somewhat less wonderful than advertised, the former resulting in this conversation painfully recounted by Almond. “Me: Ow! Please. Please, don’t—Fuck! Her: It’s almost out. Me: You have to do it faster, really—No! Ow! Fuck! Please move to another—that part really—Owwww! Her: Stop being a baby. Me: Please, sweetie. Please, I’m not joking. Her: Lie still. Just fucking lie still and let me— Me: Owwwww! You fucking bitch! You mean fucking bitch!”

    For every writer who has attempted to wince his or her way through a sex scene, Almond offers a 12-step program that lays out some pretty good (and common sense) advice, such as, Step 5 (Real people do not talk in porn clichés): “Most of the time, real people say all kinds of weird, funny things during sex, such as ‘I think I’m losing circulation,’ and ‘I’ve got a cramp in my foot,’ and ‘Oh, sorry!’”

    Given my utter lack of interest in the sport of baseball, it took me awhile to battle my way through one of the longer essays in the collection, Red Sox Anti-Christ, which ended up having some interesting and insightful things to say about sport and its place in a war-loving society such as our own. He equates the coverage of the kick off to the invasion of Iraq with a major sporting event. “Nightly highlight reels charted the day’s major offensive drives. Correspondents offered sand swept on-the-field interviews with our burly combatants, while generals served up bromides fit for a head coach.”

    Almond goes further and takes part of the blame for the unnecessary war onto his own shoulders. “As a fan, I had helped foster a culture governed by the sports mentality, in which winning mattered above all else, and the application of violence was seen as a necessary means to that end rather than a betrayal of our democratic standards.”

    In a chapter entitled In Tribute to My Republican Homeys, Almond turns on the vitriol. Demagogue Days, Or How the Right-Wing Hateocracy Chewed Me Up and Spat Me Out spins the story of how Almond, an adjunct professor at Boston College at the time, resigns over the school’s invitation of Condoleezza Rice to give the commencement speech. Almond uses the format of Dante’s descent into hell to map out all of the insidious devils of punditry that all wanted a piece of him for a brief, terrifying moment.

    With the ability to ride out ridiculous situations with the artistry of a Mavericks surfer (see How Reality TV Ate My Life), one starts to wonder just what would really get to Almond, what would crack his smooth, white chocolate exterior and let the creamy nougat pour forth?

    That force majeure comes in the form of a baby girl, the arrival of whom is hilariously recounted in 10 Ways I Killed My Infant Daughter in Her First 72 Hours of Life. It is this window into the hopes and fears that people have shared from time immemorial, that saves Not That You Asked from being simple a collection of ravings from another smart ass cynic. Not that there’s anything wrong with that.

    Random House

    Also by this author:
    Which Brings Me to You

  • Failure to Appear [poema]

    Wednesday, the Sun forgot to come out
    As two million acres goes up in flames
    Smoke scatters the wavelengths of blue light

    From Plumas and Butte, suspended in the fog
    The ghosts of Berry Creek and Feather Falls
    Hang foreboding in a persimmon-colored sky

  • The Romantic Dogs—Roberto Bolaño

    By the time an English translation of Chilean author Roberto Bolaño’s novel The Savage Detectives was finally released in 2007, he had already passed like a glowing comet, having succumbed to a failing liver in 2003. Bolaño’s novel followed every drunken debauch and whim of a group of young Mexico City poets calling themselves visceral realists, but while the prose was beautifully crafted, the book was starkly short on actual poems.

    His biographers make a point of saying that Bolaño’s first love was poetry. Supposedly he only turned to writing novels at the age of 40 after the birth of his son forced him to give up a more bohemian lifestyle. This collection spans his career from 1980 through 1998, the year The Savage Detectives was first published.

    There are many allusions to the novel and, as in much of his work, some of the same territories are traveled, making this a good companion piece to the novel, or visa versa. Several poems deal with the enigmatic figure of a detective, questioning but never solving the seemingly random and unending violence of South America.

    I dreamt of frozen detectives; Latin American detectives who were trying to keep their eyes open in the middle of the dream. I dreamt of hideous crimes and of careful guys who were wary not to step in pools of blood while taking in the crime scene with a single sweeping glance.

    His fascination with forensics would find full flower in 2666, by many accounts, his crowning achievement. At nearly 900 pages, the book is a mammoth project that Bolaño struggled to finish before he died. It is rumored that he even went as far as to postpone a much-needed liver transplant so as to not break stride on his defining work. This struggle is reflected in one of the most moving poems near the end of The Romantic Dogs.

    Muse, wherever you might go I go. I follow your radiant trail across the long night. Not caring about years or sickness. Not caring about the pain or the effort I must make to follow you.

    New Directions

    Also by this author:
    The Insufferable Gaucho
    The Return
    Savage Detectives: A Novel

  • The Yiddish Policemen’s Union: A Novel—Michael Chabon

    I always feel a little sad upon finishing one of Michael Chabon’s novels. The Berkeley author weaves such wonderfully detailed tapestries of language and imagery that a feeling of loss is inevitable once the Big Finish has come and gone.

    That same feeling pervades The Yiddish Policemen’s Union from the jump as the world the characters have inhabited for 60 years is about to be flung on the trash heap of history. The alternative-history conceit is as follows: after the horror of World War II, and a collapse of the stillborn State of Israel, Jewish refugees were settled in an American Federal District hastily carved out of the Alaskan wilderness—and now the lease is up.

    As alcoholic policeman Meyer Landsman begins the search for who may have killed a fellow tenant of his own down-at-the-heels hotel, he heads toward the basement and this throw-away bit of narration: “[Landsman] checks behind the hot-water tanks, lashed to one another with scraps of steel like comrades in a doomed adventure.” The metaphor could be stretched to represent Landsman himself and his ex-wife/new-supervisor Bina Gelbfish who has been sent to tidy up all the loose ends at Sitka Central, and Landman’s investigation is one big throbbing nerve of a loose end.

    Drowning in the machinations of the District’s Hasidic mafia and a cold ocean of slivovitz, Landsman is haunted by a complex chess problem left by the dead tenant. Is it a clue? Is it just a reflection of his own hang-up caused by his chess champion father’s disappointment in him and resultant suicide? Chabon has explored these themes before. He revels in the arcane details of modern Judaica, and I was waiting past the 200-page mark for his patented Big Gay Character to show (he does, although posthumously).

    As Chabon has repeatedly shown—in his on-going bid to become a one-man Coen Brothers of the literary world, chewing up and spitting out genre after genre—it’s not the materials, plot points, or archetypes you start with, it’s how you play the familiar pieces that wins the game.

    Harper Perennial

    Also by this author:
    Gentleman of the Road: A Tale of Adventure