Category: books

eel river

82

In Humboldt County, one of the places you can cool off in summer is the Eel River. I know this because I’ve been reading books about, among other things, the medical cannabis industry in California. Books like Too High To Fail, Pot Farm, and Humboldt. The stories in these books depict a lush, green, dangerous world light-years removed from my own. Although I had a pretty idyllic childhood by 1970’s suburban America standards, my biggest adventures at that time consisted of riding my bike (by myself!) to the P&C in Geddes Plaza, buying a Coke (in a glass bottle) and then maybe stopping in to Dom’s Coffee Shop to play a few games of Asteroids before I got kicked out for not being a paying customer.

By contrast, one of the characters, Emma, in Humboldt, used to hike with her friends down a muddy road in the woods to cool off by skinny-dipping in the Eel River after it had been swollen by the spring rains and was deep enough to swim in. Not to mention that Emma’s mom and the parents of most of her friends were pot farmers.

This is not to say that I wish my childhood was any different from what it was, even if the closest I ever got to Emma’s experience was riding through a mud puddle on my way to the Solvay Pool. I’m only thinking about this now because of my own capacity for being altered by small details. A few words in a book, a minute observation, can send me down my own muddy road of what-ifs. Like Nabokov’s pesky sandwiches, I can’t help thinking about other people, other places, other possible lives. Even though I know the only one I can possibly live is my own.

It’s probably because, as much as I don’t want to admit it, summer is almost over (the breeze that blows through my window as I write this is a decidedly fall breeze) and even though it was a special one (as they all are, really), I can’t help thinking about all the adventures not taken. Of all the things I might have done. Of just one more day on the island. Of one more night with family and friends. Of one more dip in the pond. Of even one more hour, or minute, at the beach. I know we can only lead one life at a time, and to inhabit it fully, without regrets. Still, I can’t stop looking for that muddy road in the redwoods that leads to the eternally perfect swimming hole. And then diving in.

come to me

under

It’s been a long time since college, when I wrote my Marxist critique of It’s A Wonderful Life. I’ve been out of the film review game for some time, so I don’t feel particularly qualified to talk about the cinematic merits of Under the Skin, Jonathan Glazer’s re-imagining of Michel Faber’s novel, a film that blew me away to the point I was almost in a coma afterwards. I haven’t felt this way about a movie since I saw Apocalypse Now for the first time. On that night, over thirty years ago, the film was shown in a large auditorium-style lecture hall, one where a 300-student Psych 101 class might meet. The lights dimmed. Right from the first scenes of exploding, Napalmed trees and helicopter blades whirring and morphing into Martin Sheen’s hotel-room ceiling fan while Jim Morrison sang, “This is the end…beautiful friend…the end…”, I was mesmerized. When the movie ended, I walked back to my dorm room in Eastman Hall in a daze. I couldn’t speak. People may have walked past and said hello, but I saw no one, spoke to no one. My roommate was away. I remember turning on my twinkly Christmas lights, putting some Doors on the stereo, and just staring into space for what seemed like hours. I didn’t move, I didn’t speak.  Even for days after, I thought about little else.

Walking out of the Nickelodeon Cinemas in Portland last Thursday on a foggy night, close to midnight, I felt the same way. My physical body, right down to the cellular level, had been irrevocably altered. As I walked back to my car, drunks shouted and spilled out of Old Port bars. I was an alien among humans. A stranger. While I watched a movie, Earth had been made new. I was discovering rain-soaked streets, buildings made of glass and steel, televisions flickering through bar windows, trees lit from behind by street lamps, as if for the first time. There was a deep silence to the world that I hadn’t noticed before. I drove the almost 45 minutes home with the radio off and the windows up, quiet in my pod. A few days later, I was working outside in some woods near my house. The wind whispered through the tall trees, and I thought I saw Scarlett Johansson’s alien moving through the undergrowth, a dark shape among darker shadows. But it was just some branches rustling.

scarlett-johansson-trees-skin

Like thirty years ago, I haven’t been able to think of much else since. Talking about it seems futile. No one would understand anyway. Like any deeply personal reaction to Art, it would have to remain my little secret. And although I don’t have the vocabulary to discuss the theoretical aspects of this mesmerizing, truly visionary film or the hypnotic, cliché-busting, unexpected, typecast-smashing, insert-superlative-adjective-here performance of its star, as a man of a certain age in late period capitalist America, I do feel somewhat qualified to talk about one aspect of the film with some degree of competency: boobs.

Scarlett Johansson is our movie-actress version of Beyoncé: larger than life, reputation slightly out of proportion to talent, looks really great in clothes. An unobtainable Hollywood sexpot starlet, object of volcanic desire for men and women alike. Men want to possess her; women want to look like her. Or at least that’s the story we’ve been sold. Because here’s the thing. Johansson’s nudity in this film is almost completely asexual, almost anti-sexual. True, to the (also nude) men that she lures to their death, the alienized version of Scarlett is the slightly-out-of-reach ideal sexual partner. The genius of the film, and of Johansson’s performance, is that she takes this Hollywood fantasy, the one that she herself has been so adept at creating and cultivating these past years, and, like the poor men she seduces, completely and utterly sucks the marrow out of its false, bloated body. As the director said in an interview, “I think if people go there to get their rocks off, they’re better off going to see something else.”

The truth is Johansson’s naked body in this film looks rather, well, normal. If there even is such a thing as a “normal” human body. And that’s the other thing. There is no such thing as a normal or perfect human body. Anyone who has ever met a “movie star” in real life, as I have, will probably tell you, as I will, that they have way more wrinkles and much less hair than they do on screen. I’ve also been to quite a few clothing-optional beaches and have seen literally thousands of naked men and women. And let me tell you: there was nothing special about any of them. Beautiful and infinitely varied, yes. But none normal, none special, and none perfect.

Commerce and commerce alone has sexualized the human body. The only reason sex sells is because we let it. Men and women have bought into the fantasy of human perfection, but what Scarlett shows us, in her brave performance, is that the whole shebang is one fat lie. It’s the covering-up that seduces. The revealing holds no power. When we realize this, we will be free from the lies that constrain not only our physical bodies, but our emotional ones as well.

Once we realize that we are all flawed beings walking around on the surface of this rainy, stony earth in imperfect coats of flesh, we can truly become human. In and under our skin.

me

 

rabbit steps

wpid-imag0815-1.jpg

After a few days off, I’m now on day six of my 30-day plan to transition to a barefoot style of running. I say “style” because I’m not sure if my final goal will be to run with or without shoes. Merrell, the shoe company who created the program I’m using, calls it “bareform” running.  I like this phrase better, but as my spellcheck proves, it’s not quite a real word.

I realized today that what I’m really aiming for is not so much finding a new style of running, but rather a reset to the running style all humans are innately born with. Watch a barefoot child run and you’ll see correct running form right in front of you. Chest open, shoulders back, feet landing under their center of gravity on the mid- or forefoot (NOT the heel!) and plenty of laughter.

Today I did some stretching, some posture resets, some barefoot walking. My training program only called for walking today, but I couldn’t help breaking into a few 30-second runs.

One of the keys to running this way is light, quick steps at a high cadence, about 180 total steps per minute. Some training programs recommend using a metronome to keep your paces light and quick. It makes sense if you think about it. The less time you spend with your feet on the ground, the quicker and nimbler you’ll be. You’ve heard of baby steps. But as I ran around the red gummy track today, I envisioned quick rabbit steps instead. Light, light, light.

I’ve also started reading John Updike’s Rabbit tetralogy. I’ve always loved the look of Updike’s books, uniformly graphically designed to be canon-worthy. And the easy-reading Janson typeface most of his novels and short stories use is to me the only font that says “literature.”

I even drank some wheatgrass juice for the first time today. Not sure how running like a rabbit, reading about a Rabbit, and eating what a rabbit eats all ties together. But there it is.

empty lectern

lectern

I stood at the empty lectern, in the empty room. Dead quiet, but the echo of spoken words, questions, and laughter, still in the air.  I had just worked my umpteenth book signing. The audience members, after chatting with the author and getting copies of their books signed, had left; to scrape the ice off their windshields and drive home to their hearty soups, red wine, and public radio.

The author and her colleagues, other writers and friends, had also left, after giving each other directions, and asking, “Should I follow you?” to the place they were having celebratory drinks and nosh.  I had been profusely thanked, then left alone. I would say “abandoned” but that would imply that I was ever part of the thing that I had been jettisoned from. Of the tribe of writers I longed to belong to. I could see their campfires from the cold scrub grass, but hadn’t yet been called into the warmth of their circle.

I realized then that I never would be invited, that I had to bust my way in, announce myself, and that only one thing would allow my entry: the work. Wishing wouldn’t make it so. Waking up and hoping that the completed text had magically appeared under my pillow while I slept? Not likely.

I have stories inside myself that I need to get out and the only way to get them out is to do the work. The work all the other writers had already done. The hard work of building something brick by brick, word by word. The long silences, the blank white pages, ghostly and death-like. The terror that is whiteness that Melville understood so well.

Donald Barthelme, in his essay “Not-Knowing”, said, “It’s appropriate to pause and say that the writer is one who, embarking upon a task, does not know what to do.”

This is the constant state of being for the writer. Not knowing. All the time, not knowing what will come next. And being Ok with that. Accepting it, embracing it. You might have control over all the other facets of your life, but if you are a writer, you don’t have control over this. You might know the time and the place when and where you are going to write. You might even have a pretty concrete idea what you’re going to say. But as soon as you sit down in front of that blank page, that flashing cursor, you don’t know.

I’ve finally started my first novel. I know a little bit about it. But of most of it, I have no clue. I don’t know how it will end. I don’t know the title. I don’t know what my next sentence will be, or what my main character’s name is. But every day, I’m doing the work.

In Buddhism, we speak of sitting with things. With anger. With sadness. With hunger. With pain. With happiness. Sitting there with whatever it is, right there in your hara, that sweet spot where all strength comes from, right behind your belly button. We sit with our fear of what the future holds, of what our next words will be. We sit with it, whatever it is, the not-knowing, and then it passes, and we begin again, reborn in each moment.

It’s OK not to know, as long as we resolve to at least start the journey to find out.

right now

everything-you-want-right-now

Traveling to…

A place in my mind where I have all the time in the world to think and write about the things I want to, without interruption. I’m also going to the wonderful Woodstock Writer’s Festival in early April. To be with my tribe.

Reading

The Goldfinch. I might be the only other man I know on the planet who is reading this book. It comes with a lot of hype. Maybe too much. I’m on page 567 right now. I’m all in. I’ll reserve judgment until I’m done. I loved Donna Tartt’s first novel, The Secret History. I haven’t read her second, The Little Friend, even though I have a signed copy, obtained when I met her at a book show in Chicago almost ten years ago. I remember her haircut, still the same after all these years, and making her smile.

Listening

To the new Beck album, Morning Phase, out today. Billed as a “sequel” to his “masterpiece” Sea Change, it sounds more like a long-lost friend rather than a coda. We have to be careful where, when, and how we listen to a new piece of music for the first time. I listened to the first four songs of Morning Phase after dropping my daughter off at school, and while driving to work, crossing the frozen New Meadows River with the pink sun blazing the ice. But now I’m at work, in my concrete bunker, and it’s not the time to keep going. With its echoes of Rumors-era, sunny California seventies soft-rock, this album doesn’t belong in a basement. It belongs in a car, on an open road, on the way to the beach. Or from, at sunset. I’ll save the rest for later.

Watching

Syracuse University basketball games. My daughter is quickly becoming a rabid fan. Speaking as a lifelong Orange supporter, I warned her she’s in for a lot of heartbreak. Wearing her newly-minted Ice Man t-shirt, she seems OK with that.

Eating

As much Chobani yogurt as I can stuff into my fat face. As a born-again vegetarian, I need my protein. My favorite is the plain, drizzled with some fresh Maine honey. Take that, Putin.

Drinking

Red Rose English Breakfast tea, out of my new $8 Plain White Pottery Barn cup-and-saucer set I bought at the mall. I’m one-quarter English on my dad’s side, and smitten with Downton Abbey. I may start walking with a cane, like Mr. Bates, just for fun.

Wearing

My standard all-black livery: black pants, black socks, black shoes, black crew-neck sweater, with a touch of color at the neck and wrists. Almost everything was bought at Brooks Brothers at a deep discount. As Morrissey sang, I wear black on the outside because black is how I feel on the inside. Plus it’s slimming.

How about you? What are you up to right now?

kind and true

meat

I went to a small, Jesuit liberal arts college in upstate New York. Although there weren’t many Jesuits teaching there, the school still had a religious feel. Crucifixes hung on the front wall of every classroom, statues of saints stood watch in the gardens, and the whole campus smelled like church.

One of the best professors I had while I was there was a man by the name of Ellerman. That’s how he introduced himself. Not Dr. or Mister, or even Karl, which was his first name. Just Ellerman. At the beginning of the first class, he gave a small summary of what we were going to study (Ethics) and then he simply said. “My name is Ellerman.”

As we got to know him, he confided in us that he hoped someday to write a new, improved version of Dostoevsky’s Notes From Underground. He was intense, wore a pencil-thin mustache, and rarely smiled. He was also an avowed atheist. Quite rationally, he explained that since he could discern no proof of God, he simply couldn’t believe. This non-belief, frequently expressed, came as quite a shock to my classmates, most of whom came from Catholic high schools. To them, God was a given, the claims of the Bible waterproof tight. The priests and nuns told them so. And so it must be true.

Ellerman was the first pure contrarian I ever met, pushing everyone’s accepted beliefs to the limit, and I worshipped him for it.

Then one day, he was gone. Working at a college as I do, now I understand the intricacies and high drama of the tenure process. I’m sure he was told he wasn’t on track to get tenure anytime soon, so he moved on. But back then I wanted to believe he had lost his position because he was a confessed atheist at a Jesuit school. He stuck it to the man, wouldn’t compromise his beliefs, chose reason over magic, and paid the ultimate professional price. Even if none of it was true, believing it made his sacrifice seem even greater in my eyes.

One of the ethical problems we discussed was whether or not someone had the right to challenge another person’s long-held belief in God, even on their deathbed. Was it ethical to try and make the dying person see reason, or to let them die happily with their belief in the afterlife and eternal salvation? The question applies not only to religion, but to other philosophical positions as well. Politics or personal ethics, for instance. How far are we permitted to go in order to make someone else agree with our position? Is any discussion of long-held beliefs worthy, or do most people, by the time they reach a certain age, simply believe what they believe and either can’t or won’t believe otherwise, rendering any dialogue moot?

Buddha is quoted as saying that when words are both kind and true, they can change our world. But sometimes true words can’t be kind. And kind words are certainly not always true.

I’ve just finished Morrissey’s Autobiography, and have decided, once again, to recommit myself to the vegetarian lifestyle. This puts me in a somewhat uncomfortable position at times. In a representative quote from the book, Morrissey says, “Suddenly, you come to a certain situation and you are unable to live with it, and the only protest you can make on behalf of the butchered animal is to depart the scene. Whether this be considered irritating or rude by the gluttonous carnivore is of no interest to me. Nobody can possibly be so hungry that they need to take a life in order to feel satisfied – they don’t after all, take a human life, so why take the life of an animal? Both are conscious beings with the same determination to survive. It is habit, and laziness, and nothing else.” Later in the book, Morrissey tells us how he fired an agent for simply ordering frogs’ legs in a fancy Beverly Hills restaurant.

Vegetarians, like recovering alcoholics, must always be ready, it seems, to defend their beliefs. Carnivores and drinkers never do.

If I followed Morrissey’s lead, and simply started walking out of places, like the recent Super Bowl party I attended where a friend brought a bowl of chicken wings (wings I had, on many previous occasions, eaten with unchecked abandon), I wouldn’t have many friends left at all. How far am I willing to go, as Ellerman taught us, to challenge my friend’s long-held beliefs by reminding him that he is eating dead, burned flesh? Should I launch into graphic descriptions of animal torture and slaughter, and how sometimes the flesh is peeled back from the skull of a still-live cow in cases where that poor cow hasn’t been fully anesthetized by the slaughterman’s stun gun? Or how the beaks of chickens are cut off to prevent them from pecking each other to death in the unconscionable close quarters they are kept in? Should we talk of veal, or fois gras? And what about that poetic misnomer, “ethical meat,” that is bandied about by the foodies in the pages of the New York Times? What can be ethical about killing an innocent, sentient creature, with thoughts and feelings, who wants to feel pleasure and avoid pain, just like humans do, as long as the creature was “free range” or had a “name instead of a number” before it was led to the abattoir? Lucky Bessie! She had a good life, but then we had to chop her head off and eat the flesh from her roasted bones. A life destroyed for a moment on the lips.

You see what I mean about the problem of challenging deathbed beliefs. How graphic should I get? What happens in a slaughterhouse doesn’t need to be ginned-up to convey its sheer horror. Animals are skinned alive for our food. That’s what happens.

The whole scheme only works if you believe two (in my opinion) false assumptions. First, that animals are less worthy than people, thereby making their suffering less important, and second, that we need meat to live. If you’ve ever had a dog or cat or goldfish or hamster, and you examine your feeling towards these “domestic” animals, you will probably find that their lives are just as important as yours. I realize that humankind, at some point in our development, may have needed meat to evolve. But with 50 varieties of hummus and 30 kinds of peanut butter in every supermarket, no one can make the argument that meat is now necessary for human life to continue.

Yet meat is everywhere and is consumed, as Morrissey said, out of habit and laziness. Alongside the ubiquitous beef jerky, dried pieces of turkey flesh can now be bought in little baggies in nearly every checkout line of every Wal-Mart in America. Because turkey, the experts tell us, is healthier than beef. Healthier, perhaps, for everyone but the turkey.

Remember how shocked the world was to learn that there was horse meat in the meatballs that were sold in Ikea cafeterias? The horror! But is a horse any more noble than a cow, simply because it’s capable of running at Churchill Downs? If a cow could curl up on your bed at night, or even speak, would it still be so easy to kill?

But what if, as Thoreau believed, that as mankind evolves further, he will naturally leave off the eating of flesh food? However you slice it, meat is dead, decaying flesh. The forms that it takes disguise the fact. A plate of sushi, which is sliced fish bodies, is made to look like candy. Animals are the prefect industrial workers because they can’t complain in any meaningful fashion, nor can they unionize. It’s so easy to kill animals because we are stronger than them, and they trust us. But imagine leading your dog to the guillotine?

Yes, of course people love the way meats tastes, but is a few minutes of pleasure worth the pain? Is it necessary that both a pig and a cow be slaughtered so we can enjoy applewood-smoked bacon on our drive-through cheeseburger?

You may read all this and still say yes, it is.

I know in my lifetime I’ve consumed thousands upon thousands of once-living, self-aware beings. I’ve been vegetarian and even vegan at other times in my life, but have always returned to meat-eating eventually. I’m sure that if I had to hunt to keep my family from starvation, I would have to do it. Or if I was driving my car and had to swerve to avoid hitting either a child or a cow, I would avoid the child. Of course a few extreme situations can be imagined where animal life must be taken to ensure the survival of human life. But these situations, in the modern world in which we live, are negligible almost to the point of non-existence.

There’s a difference between ignorance, and knowing but still choosing. As we move from ignorance to knowledge, maybe we can leave off killing animals for food. Maybe we won’t need a deathbed conversion.

Maybe, as Gandhi suggested, the way we treat our animals will someday be an intimation of the way we treat each other. Maybe we can be kind. And true.

myspace

myspace

The place I work sends out a little electronic newsletter every day to its employees. Included in these e-missives is news about my employer, but also little snippets of “wisdom” culled from popular media outlets currently in favor. Self-help stories that warn you about the dangers of sitting all day, about the benefits of using a stand-up desk, or the stress-busting effects of taking a short nap or brisk walk at lunchtime. While in actuality you are expected to sit all day at your old-fashioned, stroke-inducing desk, scarf down lunch while continuing to work, and where any noontime exercise is viewed as lack of commitment.

Recently, a story in Forbes magazine told us about the three surprising reasons we should stay at a job we hate. Of course we should, because if most of us don’t stay at jobs we hate, the folks at Forbes, and the millionaires and billionaires they coddle, will have nothing to write or read about. The miserable of the world create and sustain the wealth of the ruling class. We mustn’t quit, but instead accept our misery as a path to self-realization. How wonderful!

The world today, more than any other time in history it seems, is overstuffed with barbarism. Young girls are being raped and set on fire. Schoolchildren are daily butchered by firearms in classrooms and shopping malls. A scum of plastic offal the size of Texas is floating in our oceans. Polar ice is melting but countries are rejoicing because now new shipping lanes will be opened up so that more needless plastic shit can be sent around the world and consumed even faster. Faced with this, how should we act?

My own sensibility veers towards a rejection of the world. Most days, I would love to turn the other cheek forever. Not from my friends and family, whom I love, but from almost everything else.

Corporate optimists love to say we are making progress towards a more equitable, sustainable world, but instead, everywhere we look the cup of the rich gets fuller and larger in order to hold more and more wealth, as the bowls of the poor remain parched. There is no trickling-down, and there never will be. Who would voluntarily give up wealth? Resources will diminish, the wealthy will build their gated Elysiums and their floating mega-yachts, as the poor are left to battle it out amongst themselves for stale crumbs and squirrel-meat. We’re all kidding each other if we think it will be any different.

As artists, we write about our despair not because we want people to feel sorry for us or give us money. When Melville wrote about the white whale, he wasn’t asking us to take up a harpoon. All we want is for people to know that there are other ways of being in the world. Hear my story, take it into yourself, keep as much or as little as you like, and keep going.

There has to be a third way, a middle way between despair for the future of our fragile, rocky, rainy earth, and the corporatist advice of Forbes magazine and TED talks. As if some savant in fancy jeans and an untucked $350 shirt, walking around with a Bluetooth headset on a cushy blue carpet could solve our problems. Like if we listened hard enough, the secret key would finally be discovered to the hidden tomb of reason.

There must be a poetry of sanity. There must be an ethic of individuality, of listening to the voice of your own reason, and rejecting the advice of so-called experts.

One way might be to simply live within our own habits. When I look around at my own life, I don’t have a lot of distractions, and I consider this a blessing. My work habits are efficient and organized. I suppose it helps that my idea of a good day at work is leaving with fewer than five emails in my inbox. It seems that if I always shoot for this goal, I win. I focus on results and not processes. I prepare today’s rice for tomorrow’s gruel. I fold my workout clothes into a pile and set them atop my running shoes for tomorrow morning’s trip to the gym. I don’t have a lot of clothes. My entire wardrobe neatly arranged would reach a height of about eighteen inches. I like tea, books, music, walking, swimming. I can go away for the weekend with a small backpack and the clothes on my back. I’m never bored because I always have a book with me. I enjoy technology but really don’t care if my cellphone dies, even though it never does. I’m lucky not to have any tricky dietary restrictions, and am in good health for a middle-aged husband and father of two. I’m usually broke, but I expect to be. A twenty-dollar bill is as good as striking the lottery. I like being alone, but also feel most alive when engaging in deep talk with dear friends; not about what we do, but about what we love.

A radical Buddhist idea, and one I believe, is that if we change ourselves, the world will follow. Current corporatist wisdom holds the opposite to be true; that governments and organizations must be changed and disrupted for the world to be saved from self-destruction. That we need specialized leaders with futurist visions to take us there. That if only we all go green, Eden will magically appear.

But as artists of our lives, we hold that our own individual responses to the world are the only ones that should, and really can, matter. No TED talk has ever changed the world yet, and I doubt one ever will. Me taking the time to find my quiet writing space, to exercise my inborn creativity, however imperfect and unschooled it may be, or to mindfully boil water for my cup of tea, are far more lethal weapons against both the overwhelming problems of our time and the fake advice foisted upon us to solve them. Folding your clothes for your trip to the gym, or painting a picture, writing a poem or singing a song, making your tea, soaking your beans for the soup tomorrow, is the only valid response to death.

Our energies are constantly pulled in opposing directions and dissipated. I’m advocating a return to quiet, to natural wisdom, to protecting your energies for the things that really matter in your life. Making art, like life, requires all we have. To live fully, to burn up your life so that there are not even ashes left over requires great skill. We need to know when to fight and when to rest. When to shout and when to shut up. Find your natural habits and stick to them. Just because something exists doesn’t mean it must be accepted or used. Don’t fear your own voice. Be contrarian.

Create your art and your life new every day. Even if you need to retreat to an imaginary coal-fire with your pot of tea and your cat, do it. The Woolfian room of one’s own can be anywhere. I’m lucky that mine is a space close to home, quiet and well-lit, with a sink, access to fresh water and a pretty good tea stash.

No one will hand you the space or the time or the materials to create the work of art that is your life. You have to fight for your art, and your life, every day. It helps to have a sanctuary, but mostly all you need are your energies and a sharp axe. Time and materials. Because if you want firewood, or just a pencil, first you need to chop down the tree.

listing

list

The time of lists is upon us, when popular media narrow down the year’s artistic output to a manageable form. I do it myself, composing a Top Ten album list, or responding to inquiries about the best books I’ve read this year, even though some of them might have been from years gone by (Origin of the Brunists, Lit) and some from this year (The Flamethrowers, Tenth of December). But when I think about books, although they’ve been my constant companions since I was child, my papery insulation against despair, I can’t say for sure that I have favorites, or that any of them, as so often claimed by others, changed my life.

What I remember most about the books I’ve read is not the individual stories themselves, but the intensity of the conversations I was having with the authors of those books. Reading a book really is like a torrid love affair. A relationship, however fleeting. Not only did reading Infinite Jest wring me out emotionally, it also tested me physically, as I lugged that ten-pound blue brick of a hardcover from place to place and squinted to read the footnotes. While reading The Secret History, I almost stepped off a curb into traffic on a busy DC street. By the end of Ulysses, I had drunk with Stephen and Leopold and was screwing Molly in a Dublin bed. After reading Netherland, I started what would become a lifelong love affair with cricket. When I was a kid, The Great Brian series by John D. Fitzgerald gave me hope that a smart kid could be popular, and on family car trips, Albert Camus’ A Happy Death kept me morbid company, pouting in the backseat alongside me as I played the license plate game.

Now I’m trying to decide if I should start The Goldfinch, The Murder of Christ, John Barleycorn, Sixty Stories, or simply finish Our Story Begins and decide later. Who will carry me through the holidays, into the eternal promise of the new year? These are important decisions. Resolutions can wait.

stay open

george

Much has been written about the writer George Saunders. He was short-listed for this years’ National Book Award (but didn’t win). The New York Times picked his most recent story collection, Tenth of December, as one if its 10 Best Books of 2013. The Times also published a long magazine piece, at the beginning of the year, predicting that his book would be the best book you’ll read all year. The 2013 Commencement address that he gave at Syracuse University went viral.

And just a few days ago, The New Yorker posted a short video of him, shot mostly in and around his office at Syracuse, where he teaches.

I can’t add much to the video, except that it shows him as I knew him to be, almost twenty years ago when he gave a reading at a small bookstore my future wife and I were working at in Rochester, NY. This was right around the time his first collection came out, CivilWarLand in Bad Decline. It was wintertime, and there were about twenty people in the place. The body heat of all those souls, plus the steam from the espresso machine, made the windows fog up. I remember him telling a story about how he used to write at work, using alt/tab to switch between screens when his bosses came around. Afterwards, he signed a copy of his book to my wife, which she still has. He was funny, unassuming, wise.

After he published Tenth of December, I wrote to him. I thanked him for his work all these years, and I shared a Buddhist teaching with him, about always keeping a “don’t know” mind in order to stay open to the world. Open til it hurts, even.

And he wrote back. And remembered that evening. And thanked me for the quote.

It makes me glad to know that now he’s treading the same paths that I used to tread, in my hometown of Syracuse, and teaches at a school that I (briefly) attended. Syracuse might be the rust belt, a city where it seems to snow about 200 days out of the year, but its literary light shine brightly through the darkness. Think of the greats who have passed through, who are gone, who are still there: Raymond Carver, Hayden Carruth, Tobias Wolff, Douglas Unger, Jay McInerney, Stephen Dobyns, David Foster Wallace, Alice Sebold, Mary Karr.

And now, George. In the video, Syracuse almost appears as romantic and mystical as George makes it sound. Almost.

PS…Speaking of DFW, Infinite Jest was written in Syracuse, mostly in pencil, on yellow legal pads, in the basement apartment of this house:

jest

(Photo credit: Me. Based on the Times magazine story, I found the house while I was home visiting my parents for Christmas break. George and I concur: There oughta be a plaque.)

holy sheet

sheet

In his book, Two Cheers For Anarchism, author and philosopher James C. Scott argues in favor of small acts of rebellion. If we’re not prepared to take small risks or instigate tiny acts of anarchy, then we won’t be prepared when we’re called upon to take huge risks or join larger (nonviolent) rebellions against the oppressive forces at work in modern society.

From history, he presents examples of how anarchist principles were used to foster societal change through labor strikes, work slowdowns or stoppages, sabotage, marches, and other forms of protest.

On a personal level, he tells of a visit he made to a small village in Sweden where, at the end of the workday, everyone waits at the town’s single traffic light to cross the street even though the landscape is flat, the villagers can see for miles in either direction, and cars hardly ever appear. One day he decides to cross the street when the light is red, prompting admonitions from the other villagers. He was breaking the law, not following the rules, thumbing his nose (and feet) at prescribed order of things. Which was precisely his point. By exercising his “anarchist muscle” he tells us, he’ll be better prepared when he has to take a stand for something really important.

I think we should follow Professor Scott’s lead and act out whenever we can, if only in small ways. Watching independent surf films in my dining room didn’t feel quite as good as when I marched on Washington in the Eighties, protesting Contra Aid and Ollie North and flipping off Reagan. But it was damn close.

Last night, I hung a crumpled white sheet in the doorway that separates my dining room from our small cluttered sun porch. Using a borrowed projector, I watched some short surf films I found on the great DIY surfing website Korduroy.com. I was all alone; the wife was out with friends and the kids were asleep. The house was dark and silent except for the holy light shining from the humming projector and the tinny postmodern samba music coming from my laptop’s speakers.  I felt like God at the dawn of creation. There’s something incredibly rebellious about projecting a moving image on a flat surface. There’s a guerrilla aspect, a hit-and-run feeling, that it gives you. You’re tossing a Day-Glo metaphoric grenade into the mass media groupthink trenches and then booking it back into the jungle before The Man drops a huge net on your ass.

I was reminded why filmmakers have always been some of our truest rebels. Watching a film shimmering on a flat canvas in a dark room or summertime backyard is a giant fuck you to the small-screen, small-minded television executives and Madison Avenue Febreeze salesmen. Big Brother can’t find you here. The box that you turn down but never turn off is shunned.  You’ve invited Art with a capital “A” into your life, and it feels like the coolest, sweetest, most life-giving water you’ve ever tasted.

I’m reading Rachel Kushner‘s novel The Flamethrowers right now. It tells the story of a young female filmmaker who becomes romantically involved with a sexy Italian artist during the 70’s New York art scene. I’m only about 100 pages in, and so far not many flames have been thrown, but she captures the youthful yearning for rebellion perfectly. There’s also a lot of motorcycle riding, racing, and talk. Many of the characters in the novel use their motorcycles as means of escape, rebellion, and, I’m hoping, salvation.

Surfing is also act of rebellion.  And hopefully, salvation. Of moving beyond the reach of society’s grasp. Hanging that sheet in my dining room was my own act of rebellion and salvation. The heavenly light and music floating from my networked machines, as sweet as the angels’ harps.

We need to bring Art into our lives. To absorb it and to practice it. Painting, photography, printmaking, beekeeping, writing, blogging, even Instagramming; it can all be a means to our liberation. Clandestine sidewalk chalking, anonymous postering, yarn-bombing, motel-pool skinny-dipping, water-gun ambushing; almost nothing is off-limits.

So do some crazy shit each day. Stay sane. And remember what this garbage can outside of Renys told me:

boss