As part of my goal to read as many of the world’s greatest classic works of literature as I can before I go on to the next world, I have been working my way through classic books.
One of the books, I recently read was Butler, Samuel: “The Way of All Flesh.”
This book, written in the 19th century is a novel about four generations of the fictional Pontifex family. The author grew up with the family as they were from the same town in northern England. The author becomes particularly close with the grandson Earnest and becomes his Godfather, mentor, best friend, and guardian.
Co-pilot provided the following overview.
“The novel draws on Butler’s own life experiences and examines the transmission of Victorian values from one generation to the next.
First Generation: “Old” John Pontifex
John Pontifex, a gentle and artistically gifted carpenter in the village of Pelham, England, marries Ruth. Their son, George, becomes a successful publisher of religious texts.
Commentary: the only Pontifex that seems to have been relatively content with his life.
Second Generation: George Pontifex
George marries and has several children, including Theobald. Theobald becomes a clergyman and marries Christina Allaby.
Commentary: George Pontifex grows up in a religious family but ultimately does not enter the Church but becomes a publisher of Christian books and is well known in the Christian ministries of the time. He pressures his son Theobold to become a minister or risk his inheritance. He is a horrible father, mistreating his children, and his wife, but considers himself to a paragon of Christian virtue.
Third Generation: Theobald and Christina
They raise their children—Ernest, Charlotte, and Joey—in a strict religious environment. Ernest, the central character, attends a boarding school but struggles academically and morally.
Comment: Theobald becomes even more of a tyrant and terror to his children than his own father had been to him. He is determined to beat down any hint of rebellion or independence amongst his children who must obey his every dictate. His wife, tries to mollify his worst parenting instincts. Like his father, he considered himself to be a paragon of religious virtue and had no patience with “dissent” or “Roman Catholicism’
Fourth Generation: Ernest
Ernest’s life takes unexpected turns, including a secret inheritance from his aunt Alethea. His marriage to Ellen, a housemaid, becomes complicated.
Comment: His marriage is indeed complicated as his wife it turned out, was an alcoholic and married to another man so technically thier marriage was considered to be illegitimate, He is left with two children to raise and he finds a home for them. His wife runs off to America with one of her numerous boyfriends. His parents eventually forgive Earnest’s “marriage” as they saw him as a victim of an evil woman which in some sense he was.
Fifth Generation: Alice and Georgie The story continues with Ernest’s illegitimate children, Alice and Georgie. Earnest struggles with what to do about their upbringing and finds a home for them through the help of his Godfather, who was his father’s best friend. despite having a falling out with him over how he was treating his children.
Comment:
The book details the impact of strict Protestantism on children and discusses the age-old problem of fathers and sons. Each of the men in the story has have problems relating to and rearing thier sons. One of the themes of the book is how these family dynamics often continue to impact families, and men in particular don’t seem to be capable of learning from their mistakes as parents. Each of the men in the novel struggle with how to follow their consciousness and their strict interpretation of Christianity as they struggle to raise their children.
The fourth-generation son, Earnest is particularly negatively impacted by his overbearing strict father’s upbringing much as he had had with own father. Earnest wanted to follow his dreams of becoming a composer and musician. But his father was determined that he should go to college and become a minister much as he been forced to become a minister.
Along the way he is derailed and ends up serving six months in prison. Unbeknownst to him, his favorite Aunt, the only person in his family he felt close to, had left him a small inheritance which he gains on his 26th birthday, much to the chagrin of his parents who felt that they should have inherited the family money. This becomes yet another source of parental-children discord. Earnest also falls in love and marries a woman who used to work for his father. She turns out to be an alcoholic and leaves him immigrating to America which another man leaving Earnest to deal with finding a place to raise his illegitimate children. In the end of the novel, father and son attempt to reconcile.
Overall, I found this book to be a powerful indictment of traditional Victorian morality and all that it entails. The novel resonated with me because I had a lot of problems with my own overbearing father just as he had with his father, and I also had estranged relations with my siblings and my mother. To sum up, a powerful somewhat disturbing look at family dynamics that is still very relevant over 150 years later as most of the classic novels tend to be.
Co-pilot provides more background information on the novel and its literary reputation. I
Synopsis:
The Way of All Flesh, written by Samuel Butler, follows several generations of the fictional Pontifex family. The novel draws on Butler’s own life experiences and examines the transmission of Victorian values from one generation to the next.
Literary Reputation:
The Way of All Flesh is a semi-autobiographical novel that boldly critiques Victorian-era hypocrisy. Written between 1873 and 1884, it remained unpublished during Samuel Butler’s lifetime due to its controversial content. However, when it was finally published posthumously in 1903, it was accepted as part of the general reaction against Victorian norms.
Here are some key points about its literary reputation:
Iconoclastic: Samuel Butler’s autobiographical account, informed by his own upbringing and adulthood, exposes the hypocrisy within a Victorian clerical family.
So, as you write your review, keep in mind that this novel is not only a compelling family saga but also a powerful critique of its time. Happy writing! 😊📚345
Certainly! The Way of All Flesh delves into several thought-provoking themes, making it a rich and multifaceted work. Let’s explore some of these themes:
Christianity and Its Variations:
At its core, The Way of All Flesh grapples with different expressions of Christianity. Samuel Butler, through his protagonist Ernest Pontifex, dissects the nuances between high and low Anglicanism, Roman Catholicism, ritualism, and evangelicalism.
The novel doesn’t outright reject Christianity; rather, it critiques specific aspects of Anglicanism. Butler portrays the Anglican Church as demanding blind faith while offering a mishmash of unscientific and self-contradictory teachings. The Church’s insistence on accepting dogma without questioning its reasonableness becomes a central point of contention.
However, scattered throughout the novel are glimpses of another Christianity—one that is rational, humble, and life-affirming. This unorthodox version encourages coherence, compatibility with scientific findings, and a willingness to adapt beliefs based on new information.
Hypocrisy and Social Conventions:
The Way of All Flesh exposes the hypocrisy prevalent in Victorian society. The Pontifex family embodies societal norms, but their actions often contradict their professed values. The novel critiques the gap between public appearances and private realities.
Social conventions—
Especially those related to marriage, family, and religion—are scrutinized. Butler challenges the idea that adhering to societal norms necessarily leads to moral goodness. In some ways this is also a proto-feminist novel as the female characters try to navigate their way through a male dominated society.
Generational Conflict and Rebellion:
comment:
This is strongest element of the novel for me, as it subsumes the other themes into it.
The novel spans multiple generations of the Pontifex family. Each generation grapples with its own set of expectations and norms.
Ernest, the central character, rebels against the rigid structures imposed by his parents and the Church. His intellectual journey takes him from disinterest to orthodoxy and eventually to heterodoxy.
Individual Autonomy and Authenticity:
Ernest’s struggle for autonomy drives the narrative. He seeks to live authentically, even if it means rejecting societal norms.
The tension between conforming to expectations and forging one’s own path is a recurring theme. Ernest’s pursuit of personal truth becomes a powerful force in the novel.
Education and Intellectual Growth:
Education plays a significant role in shaping characters’ lives. Ernest’s experiences at school and university profoundly impact his worldview.
The novel questions the purpose of education: Is it merely to conform to societal norms, or should it encourage critical thinking and personal growth?
In summary, The Way of All Flesh is a layered exploration of faith, hypocrisy, rebellion, and the struggle for authenticity. Its critique of Victorian mores remains relevant even today. 📚✨12
I have completed 65 % of the books in the three-volume set titled “50 Books You Must Read Before You Die”
Bolded indicates that I have read the book
The list follows
50 Masterpieces You Have to Read Before You Die
Started reading the first one of Volume 3
Bolded indicates I have read it.
Vol 1 starts with Volume One
Alcott, Louisa May: Little Women Austen, Jane: Pride and Prejudice Austen, Jane: Emma Balzac, Honoré de: Father Goriot Barbusse, Henri: The Inferno Brontë, Anne: The Tenant of Wildfell Hall Brontë, Charlotte: Jane Eyre Brontë, Emily: Wuthering Heights Burroughs, Edgar Rice: Tarzan of the Apes Butler, Samuel: The Way of All Flesh Carroll, Lewis: Alice’s Adventures in Wonderland
Cather, Willa: My Ántonia Cervantes, Miguel de: Don Quixote
Chopin, Kate: The Awakening Cleland, John: Fanny Hill Collins, Wilkie: The Moonstone Conrad, Joseph: Heart of Darkness Conrad, Joseph: Nostromo Cooper, James Fenimore: The Last of the Mohicans Crane, Stephen: The Red Badge of Courage
Cummings, E. E.: The Enormous Room Defoe, Daniel: Robinson Crusoe Defoe, Daniel: Moll Flanders Dickens, Charles: Bleak House Dickens, Charles: Great Expectations Dostoyevsky, Fyodor: Crime and Punishment Dostoyevsky, Fyodor: The Idiot Doyle, Arthur Conan: The Hound of the Baskervilles
Dreiser, Theodore: Sister Carrie Dumas, Alexandre: The Three Musketeers Dumas, Alexandre: The Count of Monte Cristo Eliot, George: Middlemarch
Fielding, Henry: Tom Jones Flaubert, Gustave: Madame Bovary Flaubert, Gustave: Sentimental Education
Ford, Ford Madox: The Good Soldier Forster, E. M.: A Room With a View Forster, E. M.: Howard End Gaskell, Elizabeth: North and South Goethe, Johann Wolfgang von: The Sorrows of Young Werther
Gogol, Nikolai: Dead Souls
Gorky, Maxim: The Mother Haggard, H. Rider: King Solomon’s Mines Hardy, Thomas: Tess of the D’Urbervilles Hawthorne, Nathaniel: The Scarlet Letter Homer: The Odyssey Hugo, Victor: The Hunchback of Notre Dame Hugo, Victor: Les Misérables
Huxley, Aldous: Crome Yellow
James, Henry: The Portrait of a Lady
Volume 2
– Little Women [Louisa May Alcott] – Sense and Sensibility [Jane Austen] – Peter Pan (Peter and Wendy) [J.M. Barrie]
– Cabin Fever [ B. M. Bower]
– The Secret Garden [Frances Hodgson Burnett]
– A Little Princess [Frances Hodgson Burnett] – Alice’s Adventures in Wonderland [Lewis Carroll]
– The King in Yellow [Robert William Chambers] – The Man Who Knew Too Much [Gilbert Keith Chesterton]
– The Woman in White [Wilkie Collins]
– The Most Dangerous Game [Richard Connell]
– On the Origin of Species, 6th Edition [Charles Darwin] – Robinson Crusoe [Daniel Defoe]
– The Iron Woman [Margaret Deland] – David Copperfield [Charles Dickens] – Oliver Twist [Charles Dickens] – A Tale of Two Cities [Charles Dickens] – The Double [Fyodor Mikhailovich Dostoyevsky] The Memoirs of Sherlock Holmes [Arthur Conan Doyle] – The Curious Case of Benjamin Button [Francis Scott Fitzgerald] – A Room with a View [E. M. Forster] – Dream Psychology [Sigmund Freud] – Tess of the d’Urbervilles [Thomas Hardy] – Siddhartha [Hermann Hesse] – Dubliners [James Joyce] – The Fall of the House of Usher [Edgar Allan Poe]
– The Arabian Nights [Andrew Lang] – The Sea Wolf [Jack London] – The Call of Cthulhu [Howard Phillips Lovecraft] – Anne of Green Gables [Lucy Maud Montgomery] – Beyond Good and Evil [Friedrich Wilhelm Nietzsche] – The Murders in the Rue Morgue [Edgar Allan Poe] – The Black Cat [Edgar Allan Poe] – The Raven [Edgar Allan Poe]
– Swann’s Way [Marcel Proust] – Romeo and Juliet [William Shakespeare] – Treasure Island [Robert Louis Stevenson] – The Elements of Style [William Strunk Jr.
Vol 3 finished keeping for the historical record
This book contains the following works arranged alphabetically by authors’ last names.
Started with volume 3 then will go back and do volumes one, two, and the Harvard classics. The goal is to finish all of these by the end of next year. I almost finished Volume One. Will do some of the WC reading books as well.
– What’s Bred in the Bone [Grant Allen] – The Golden Ass [Lucius Apuleius] – Meditations [Marcus Aurelius] – Northanger Abbey [Jane Austen] – Lady Susan [Jane Austen] – The Wonderful Wizard of Oz [Lyman Frank Baum] – The Art of Public Speaking [Dale Breckenridge Carnegie] – The Blazing World [Margaret Cavendish] – The Wisdom of Father Brown [Gilbert Keith Chesterton] – Heretics [Gilbert Keith Chesterton] – The Donnington Affair [Gilbert Keith Chesterton] – The Innocence of Father Brown [Gilbert Keith Chesterton] – Fanny Hill: Memoirs of a Woman of Pleasure [John Cleland] – The Moonstone [Wilkie Collins] – Lord Jim [Joseph Conrad] – The Further Adventures of Robinson Crusoe [Daniel Defoe] – The Pickwick Papers [Charles Dickens] – A Christmas Carol [Charles Dickens] – Notes From The Underground [Fyodor Mikhailovich Dostoyevsky] – The Gambler par Fyodor [Mikhailovich Dostoyevsky] – The Lost World [Arthur Conan Doyle] – The Hound of the Baskervilles [Arthur Conan Doyle] – The Sign of the Four [Arthur Conan Doyle] – The Man in the Iron Mask [Alexandre Dumas] – The Three Musketeers [Alexandre Dumas] – This Side of Paradise [Francis Scott Fitzgerald] – Curious, If True: Strange Tales [Elizabeth Cleghorn Gaskell] – King Solomon’s Mines [Henry Rider Haggard] – The Hunchback of Notre Dame [Victor Hugo] – Kim [Rudyard Kipling] – Captain Courageous [Rudyard Kipling] – The Jungle Book [Rudyard Kipling] – Lady Chatterley’s Lover [David Herbert Lawrence] – The Son of the Wolf [Jack London] – The Einstein Theory of Relativity [Hendrik Antoon Lorentz] – The Dunwich Horror [Howard Phillips Lovecraft] – At the Mountains of Madness [Howard Phillips Lovecraft] – The Prince [Niccolò Machiavelli] – The Story Girl [Lucy Maud Montgomery] – The Antichrist [Friedrich Wilhelm Nietzsche] – The Republic [Plato] – The Last Man [Mary Shelley] – Life On The Mississippi [Mark Twain] – The Kama Sutra [Vatsyayana] – In the Year 2889 [Jules Verne] – Around the World in Eighty Days [Jules Verne] – Four Just Men [Edgar Wallace] – Ben-Hur: A Tale of the Christ [Lewis Wallace] – Jacob’s Room [Virginia Woolf]
Reading the Classics Updated Lists
The Flashman novels are a series of historical fiction books written by George MacDonald Fraser, following the adventures of Harry Paget Flashman, a fictional British army officer. The series spans from the mid-19th century to the early 20th century, covering various historical events and figures. The Flashman novels are written in a satirical, mocking style, reflecting the times of the alleged author of the novels, Harry Flashman who was based on a character in Tom Brown’s satire of the British public schools of the 19th century.
The original Harry Flashman was a notorious bully who was kicked out of his elite boarding school. The Flashman novels re-imagine him becoming despite his many character flaws, a heroic army officer who served in many of the epic wars of the 19th century, including fighting in the War of 1812, the US Civil War, the Indian Wars, the Chinese Wars, and the Crimean campaigns. Along the way, he has numerous affairs, meets and becomes friends with people in both low places and high places, and is a scoundrel to boot
I have read about half of the books. Among my favorites are “Flashman and the Redskins” which takes place in the 1840s and the 1870s Indian wars in the U,S, including his involvement in the events of Custer’s last stand, “. Flashman and the “Angel of the Lord” which imagines him encountering and helping John Brown in his aborted raid on Harper’s Ferry that helps set off the civil war, and ” Flashman and the Dragon” which recalls his involvement in the March to Beijing which ended the opium wars, as well as encounters with the Taiping rebels.
Among the more controversial parts of his character, is his many affairs along the way with over 400 women. He is indeed a scoundrel for the ages. The writing is crisp, very descriptive of the times, and of course sexist, racist, and colonist. Just part of the time. In many ways, his character resembles the James Bond character of Ian Fleming flame
On the plus side, the novels are historically accurate for the most part, minus the fact that Flashman did not actually exist. But he is the kind of figure that we imagined could have existed.
To sum up, the Flashman novels are a real treat to read.
Flashman’s expulsion from Rugby School for drunkenness leads him to join the British Army. He joins the 11th Regiment of Light Dragoons commanded by Lord Cardigan. After an affair with a fellow-officer’s lover, he fights a duel, but cheats. He is posted to Scotland because of the affair and is billeted with the Morrison family; he takes advantage of one of the daughters, Elspeth. After a forced marriage, Flashman is required to resign his position in the Hussars and instead is gazette into a position with the East India Company.
After revealing his language and riding skills, Flashman is assigned to Afghanistan, where he is present at the retreat from Kabul, the last stand at Gaydamak and the Siege of Jalalabad.
Fleeing from a police raid on a brothel he was visiting, Flashman meets Lola Montez and Otto von Bismarck. Some years later Flashman is tempted to Munich, where Bismarck has him abducted; he is blackmailed into imitating Prince Carl Gustaf, a fictional member of the Danish royal family. Gustaf is to be married to Duchess Irma, the ruler of the fictional Duchy of Stricken; according to Bismarck the prince has contracted a sexually transmitted disease, which would be embarrassing if uncovered by his future wife. This turns out to be a lie and the prince has been imprisoned in Jotunberg Castle. Flashman is a doppelgänger of the Prince and is trained to take his place until the Prince is cured. Flashman is accompanied to Strackenz by Bismarck’s accomplices, Rudi von Starnberg, Detchard and de Gautet, and is married to the Duchess. Shortly afterwards, while out hunting, Flashman finds out that Bismarck meant to double-cross him and kill him, but he turns the tables on his attacker and tortures the information out of him and kills him instead. He is then captured by Strackenzian nationalists and forced to help them storm Jotunberg Castle. They are successful, but Flashman and von Starnberg fight in the dungeon, with Flashman narrowly escaping death before escaping back to England, with the help of Montez, who robs him along the way.
Flashman is falsely accused of cheating at cards, and runs away from disgrace by accepting an offer of a berth on the slaving ship part owned by his father-in-law; the ship is captained by John Charity Spring, an ex-fellow of Oriel College, Oxford who quotes Latin and Greek at length. After sailing to Dahomey, Spring buys slaves from King Ghezo; the deal goes wrong and the crew are attacked by Gezo’s Amazons, resulting in the mortal wounding of the third mate, Mr Comber. Comber dies but admits to Flashman that he is a spy for the navy, giving Flashman his papers to prove his identity. The ship makes its way to America but is captured by the United States Navy. Flashman assumes the identity of Comber and escapes, hiding in the brothel of Susie Willinck. He is abducted by the Underground Railroad and forced to assist in transporting a slave to freedom in Canada. He is accused of being an abolitionist and escapes, ending up employed as a slave driver on a plantation. Caught having sex with the owner’s wife, he is himself sold into slavery, but escapes with a slave, before being assisted to freedom by junior congressman Abraham Lincoln. He returns to New Orleans and demands passage to Britain from Spring.
Flashman is ordered to protect and mentor William of Celle—a (fictional) cousin of Queen Victoria—during the Crimean War; William is killed. Flashman is subsequently involved in The Thin Red Line, the charge of the Heavy Brigade and the charge of the Light Brigade, where he surrenders. He is taken into Russia and placed in the custody of Count Pencherjevsky; he also meets his old schoolfellow Scud East and Count Nicholas Pavlovich Ignatiev, a vicious Russian army captain. After overhearing plans for the Russian invasion of British India, Flashman and East escape, but Flashman is recaptured. He is taken by Ignatiev across central Asia as part of his plans to conquer India but is subsequently rescued from prison by cohorts of Yaqub Beg. Tajik and Uzbek warriors attack and destroy the Russian fleet with the aid of Flashman, who had been drugged with hashish.
Flashman is at Balmoral Castle as a guest of Queen Victoria; he meets Lord Palmerston, who recruits him to go to Jhansi in India and investigate rumours of a rebellion among the Sepoys. Flashman again encounters Nicholas Pavlovich Ignatiev, and the Russian tries to kill him while hunting. Once in Jhansi he meets the queen, Rani Lakshmibai. He listens to her grievances against the British Raj and attempts to seduce her. Shortly afterwards he is nearly garroted by Thuggees and assumes the disguise of Makarram Khan, a Hasanzai of the Black Mountain, and takes refuge in the native cavalry at Meerut. While there, the Sepoy Mutiny begins. Flashman survives the Siege of Cawnpore and the Siege of Lucknow but ends up imprisoned in Gwalior after an attempt to deliver Lakshmi into British hands. He is released just in time to witness her death in battle. In the aftermath Flashman is awarded the Victoria Cross and is knighted; he is also given a copy of the recently published Tom Brown’s School Days, which describes him being a bully and a coward while at school.
Flashman meets Tom Brown, a former acquaintance from Rugby School, and agrees to play cricket at Lord’s Cricket Ground for a team made up of Old Rugbeians. Following separate threats from a bookmaker and a Duke, Flashman accompanies Don Solomon Haslam—a businessman from the East Indies—Elspeth and his father-in-law on a trip to Singapore. Once there, Haslam reveals himself to be the pirate Sulieman Usman, and he kidnaps Elspeth. Flashman reluctantly gives chase in the company of James Brooke to rescue her but is himself captured by Usman. He escapes from Usman’s ship at Madagascar, but is captured and enslaved by the Malagasy, eventually becoming military advisor and lover to Queen Ranavalona I. He and his wife finally escape from the island during an Anglo-French naval attack.
Part one In his haste to leave New Orleans and avoid arrest, Flashman agrees to accompany Susie Willinck and her company of prostitutes westwards on the California Gold Rush; Willinck forces him into marriage before the journey. Despite being attacked by a band of Comanche on the journey, they reach Santa Fe, New Mexico, where Flashman absconds with $2,000 made from selling one of the prostitutes, Cleonie, to Navajos. Flashman falls in with a group of travellers but he discovers them to be scalp-hunters, when they attack a band of Apaches. Flashman joins in but refuses to take any scalps or rape captive women, and when the scalp-hunters are attacked by the remainder of the tribe, he is saved and marries Sonsee-Array, the daughter of chief, Mangas Coloradas. He eventually escapes and is saved by Kit Carson on the Jornada del Muerto. Part two In 1875 Flashman returns to America with his wife, Elspeth. Later, in Washington DC, he meets George Armstrong Custer and Mrs. Arthur B. Candy, and travels to Bismarck, North Dakota, with Mrs. Candy to pursue a carnal relationship. She reveals herself to be the former slave Cleonie, and he is kidnapped by Sioux and kept captive at Greasy Grass. He escapes just in time to take part in the Battle of the Little Bighorn, where he sees the defeat and death of Custer—possibly being the one who kills him. Flashman is captured, partly scalped and hidden by Frank Grouard, who reveals himself to be his illegitimate son from Cleonie. Grouard breaks a promise to his mother and decides not to kill Flashman, but instead takes him back to Deadwood, Dakota Territory.
While in Hong Kong, Flashman is reluctantly persuaded by an English vicar’s wife to escort a shipment of opium into Canton; en route he discovers that instead of opium he is carrying guns to the Taiping rebels. He is subsequently put onto the British embassy intelligence staff in Shanghai. He then travels to the mouth of the Peiho to join Lord Elgin‘s staff for his march to Peking. During the course of the march he is captured by Qing imperial troops and becomes the prisoner and lover of Yehonala, the imperial concubine. He is finally freed when the British army arrives at Peking; he then witnesses the destruction of the imperial Summer Palace.
Flashman is in India, and is dispatched by Major George Broadfoot to the Punjab, masquerading as a solicitor attempting to settle the Soochet legacy with Maharani Jind Kaur. After becoming entangled in the intrigues of the Punjabi court, Flashman is forced to flee at the outbreak of the First Sikh War, but becomes involved in plans by the Punjabi nobility to curb the power of the Khalsa. Returning to the relative safety of the British forces, Flashman arrives just in time to become an unwilling participant in the attack on Ferozepore. Injured, he attempts to avoid the rest of the war in a sick bed, but is called on by Jind Kaur to smuggle her son Duleep Singh and the Koh-I-Noor diamond out of the country.
While in South Africa Flashman has a chance meeting with John Charity Spring. Spring drugs Flashman and ships him to the US, where charges are still outstanding against him. Flashman avoids the authorities, but is found by Crixus, a leader of the Underground Railroad, who blackmails him into joining John Brown and taking part in his raid on Harpers Ferry. He is accompanied by one of Crixus’ followers, a black man named Joe Simmons, who actually works for the Kuklos, a forerunner of the Ku Klux Klan. The Kuklos also want Flashman to help Brown, but in order to start a civil war. The wife of the leader of the Kuklos works for Allan Pinkerton, who also wants Flashman to join with Brown, but to slow him down and prevent the raid into the South from ever happening. Despite Flashman’s attempts, the raid goes ahead and he is caught in the arsenal when the US Marines attack.
“The Road to Charing Cross“— Flashman goes to Berlin with Henri Blowitz to help get a copy of the Treaty of Berlin and publish it in The Times. Five years later, he is trying to avoid being sent to Sudan with Charles George Gordon when a letter from Blowitz arrives inviting him to Paris. He rides the maiden journey of the Orient Express and is blackmailed by Bismarck into joining Rupert Willem von Starnberg (the son of the villain from Royal Flash). Flashman and Starnberg are instructed by Bismarck to save Emperor Franz Josef from assassination by Magyar nationalists, but Flashman is in turn tricked by Starnberg, who is one of the assassins.
“The Subtleties of Baccarat“—Flashman is an observer of the Tranby Croft affair, which he discovers was caused by his wife.
“Flashman and the Tiger“—Flashman meets “Tiger Jack” Moran in the aftermath of the Battle of Isandlwana; the pair escape to Rorke’s Drift. Years later Moran reveals he was the cabin boy on Captain John Charity Spring’s ship, the Balliol College (see Flash for Freedom!); he has been seeking revenge against the ship’s crew and was blackmailing Flashman’s granddaughter in order to sleep with her. While trying to kill him, Flashman is mistaken for a tramp by Sherlock Holmes, while the police arrest Moran for trying to kill Holmes (see “The Adventure of the Empty House“).
While in Trieste, Flashman meets an old school friend, Jack Speedicut, who enlists him to escort a shipment of Maria Theresa thalers to General Robert Napier. Napier is based in Abyssinia, on a military expedition against King Tewodros II. On Flashman’s arrival in Abyssinia, Napier enlists him and despatches him on a secret undercover mission to recruit Queen Masteeat and her Galla people, who are opposed to Tewodros. Flashman succeeds in enlisting the assistance of Queen Masteeat but is then captured by Tewodros’ forces. Flashman is held captive while Napier’s forces advance and then storm the capital Magdala, and is present when the king commits suicide.
The Flashman Papers is a series of novels and short stories written by George MacDonald Fraser, the first of which was published in 1969. The books centre on the exploits of the fictional protagonist Harry Flashman. He is a cowardly British soldier, rake and cad who is placed in a series of real historical incidents between 1839 and 1894. While the incidents and much of the detail in the novels have a factual background, Flashman’s actions in the stories are either fictional, or Fraser uses the actions of unidentified individuals and assigns them to Flashman. Flashman is a character in the 1857 novel by Thomas Hughes, Tom Brown’s School Days; Hughes’ version of the character is a bully at Rugby School who is expelled for drunkenness. The character was then developed by Fraser and appeared in the 1969 novel Flashman. Fraser went on to write a total of eleven novels and one collection of short stories featuring the character.
During the course of Fraser’s novels, Flashman goes from his expulsion from school into the army. Although he is a coward who tries to run away from any danger, he is involved in many famous military episodes from the 19th century, often taking actions that cause or affect subsequent events, such as his flatulence affecting the Charge of the Light Brigade,[a] or being the person who probably shot George Armstrong Custer. When circumstances run against him and he is forced to fight, he often does so relatively capably. Despite his cowardice and his attempts to flee, he becomes a decorated war hero and rises to the rank of brigadier-general. He also meets people who either were notable at the time—such as Benjamin Disraeli and the Duke of Wellington—or who became well known after Flashman met them—such as Abraham Lincoln. Flashman either has, or tries to have, sex with most of the female characters: by the tenth book he estimates that he has had sex with 480 women.
The publication sequence of the books differs from the fictional chronology, with the time frame of some books overlapping. One of the novels, Flashman and the Redskins, is in two parts: part one takes place in 1849–50, while the second covers 1875–76. Although the main series of stories finishes in 1894, Flashman lives on until 1915 and appears in his late 80s in another Fraser novel, Mr American.
The great mass of manuscript known as the Flashman papers was discovered during a sale of household furniture … The papers, which had apparently lain untouched for fifty years, in a tea chest … were carefully wrapped in oilskin covers.
The series consists of twelve historical fiction books written by the journalist, author and screenwriter George MacDonald Fraser, that were published between 1969 and 2005. The series consists of eleven novels and one collection of short stories, spanning from 1839 to 1894; they are the memoirs of the fictional character General Sir Harry Paget Flashman, VC, KCB, KCIE. Although Flashman is fictional, the settings and history of the events, and the people with whom he interacts are all largely based around historical events and individuals, although three contain elements of other novels.[3][b] Flashman first appeared in the 1857 semi-autobiographical novel Tom Brown’s School Days by Thomas Hughes as a bully at Rugby School, who persecutes Tom Brown, and who is expelled for drunkenness: Fraser’s series of novels starts with Flashman’s expulsion from school. Based on a literary conceit, an explanatory note—itself also fictional—at the start of Flashman sets the context and explains that the memoirs had been found in an auction house in Ashby, Leicestershire, and had subsequently come into the possession of Fraser, who has acted in the role of editor.[6] Fraser also included pages of notes and appendices at the end of each volume, providing the factual background for Flashman’s endeavours.[3]
Fraser was working as a journalist on The Glasgow Herald when he wrote the first novel, Flashman; writing in the evenings, after work, he took 90 hours in total to write the story.[7][8] After the book was published, he left journalism and took up writing novels.[7] When a break from writing was forced upon him by a broken arm, he abandoned the book until his wife read the manuscript and urged him to finish.[8] He did not find a publisher for the novel for two years, until Barrie & Jenkins published it in 1969.[8] When the novel was published in the US the same year, of the 34 reviews read by Alden Whitman of The New York Times, ten of them considered the book to be a genuine autobiography.[9] Fraser researched each novel at Trinity College Dublin.[10] From their first publication, the books were a commercial success,[11] and new editions appeared on the best-sellers’ lists.[12]
FLASHMAN, Harry Paget, brigadier-general, V.C., K.C.B., K.C.I.E.: Chevalier, Legion of Honour; Order of Maria Theresa, Austria; Order of the Elephant, Denmark (temporary); US Medal of Honor; San Serafino Order of Purity and Truth, 4th class
Flashman is from a semi-aristocratic background; he recounted that his great-grandfather “made a fortune in America out of slaves and rum, and piracy, too, I shouldn’t wonder”.[14] His father was “a dissolute former MP, living beyond the bounds of respectable society, and … his mother [was] born of the self-promoting Paget family“.[15] Despite joining the army after expulsion from school, Flashman is a self-confessed coward with a false reputation for bravery, earned at the expense of others, and despite him trying to avoid danger at all costs.[16] He is also “a scoundrel, a drunk, a liar, a cheat [and] a braggart”,[7] who was described by Fraser as “an unrepentant old cad” whose only positive features are “humour and shameless honesty as a memorialist”.[17]
Flashman is 6 feet 2 inches (1.88 m) tall, weighs 13 stone (180 lb; 83 kg) (12½ stone in the first book, fourteen stone in the last), has broad shoulders and is attractive to women.[15][c] He was forced into marriage in the first book, after he “caddishly deflowered” Elspeth Morrison,[3] the daughter of a wealthy Scottish textile manufacturer with whom he had been billeted.[15] Despite being married—and the fact he deeply loves his wife—Flashman is “a compulsive womaniser”[10] who has bedded 480 women by the tenth book in the series, which was set in 1859.[20] Elspeth is also probably unfaithful to him on several occasions.[15] Flashman notes that he has three “prime talents, for horses, languages, and fornication”;[21] he was also described by the master-at-arms of the 11th Hussars as a strong swordsman[22] and was skilled with a lance, particularly at tent pegging.[23] When it is necessary for him to control his fear, he will perform bravely, although is more adept at saving his own skin at the expense of others.[10]
In the course of the series, Flashman is promoted to the rank of brigadier-general and decorated numerous times by different countries. While the books cover some of the awards—such as being given the Victoria Cross for his actions during the sieges of Cawnpore and Lucknow[24]—some stories are not known, such as how and why he served on both sides of the American Civil War and how he won the Medal of Honor.[25][d]
I’m a sixty-something, mostly self-taught, amateur wannabe with some songs I want to share—and eventually leave behind.
These songs tell the stories of my life, sometimes quite literally, sometimes less so. But I hope others can find something of their own story in there. I think that’s why we do art of any kind—to connect, right?
The Second Song
This month’s song is sort of a sad homage to the classic one night stand. What kids today might call a hookup. Or maybe that term is already out of date, I don’t keep up. Anyway, I originally wrote this song back in the 1980s, probably sitting at a bar nursing a hangover. I’ve even done a video of it before. But I always thought it needed a bridge, and I finally got around to writing one last year, and I think it helps crystalize the intent of the lyric. So, here’s a new recording, including the new bridge.
The structure is fairly simple and classic: verse, chorus, verse, chorus, bridge, verse, chorus. The story told in the verses even follows something like three-act structure.
Musically, it’s an old-school, three-chord country song in the key of C. Just C-F-G with a few frills here and there. I’m arpeggiating the main guitar chords as a counter melody that overlaps and intertwines with the vocal melody.
Performance & Production
(if you’re into the details)
Once again, it’s just me on vocals and instrumentation.
My big learning goal for this production was to incorporate GarageBand’s digital drummer. It’s an unwieldy beast, I’ll say. And like a lot of this stuff, I am on the steep part of the learning curve.
The bass guitar part was also digitally created, using a GarageBand preset and the Musical Typing feature. I did better with that this time, but I’d like to find a better solution going forward. I might be shopping for a bass guitar. We’ll see.
A full view of the song in GarageBand. The Taylor T5z. My desk during Musical Typing! The vocal mic and reflection shield. The bar in Red Bluff where this song was most likely written around 1986.
The main guitar part was recorded with a Taylor T5z hybrid guitar, plugged in directly to the Scarlett audio interface. It was digitally duplicated, and one track drenched in boozy tremolo, the other has a bit of distortion. The vocal was recorded separately with the PreSonus M7 microphone, using the MouKey reflection shield. The lead guitar was also recorded on the T5z direct to the Scarlett, with a “Cool Jazz Combo” effect laid on.
The slide show is a series of shots I found online—mostly from pexels.com—that seemed to evoke the right mood and correspond to the story somewhat. I put it together in iMovie with the audio file from GarageBand. This felt more appropriate for the song than a video of me.
Overall, this song turned into quite an experiment, and thus an adventure. There are aspects I’m quite satisfied with and some I would change with more time. But that’s the beauty of setting a deadline, right? I learned that in 40 years of the newspaper and magazine business. You do the best you can, fuss over it until the last minute if need be. But make the deadline. Anyway, I learned a lot from the process. And that’s the real point.
Roy Dufrain is my college roommate from UOP. We lived at the Euclid House next to campus which became an alternative frat house of sorts. We had wild parties every Friday night for two and a half years – the best parties on campus. Boy, we had fun He taught me so much, became a “deadhead” because of him, and tried various things with him, and we occasionally performed demented music together at campus events. He was a Raymon College student, but unfortunately, because of money problems did not finish his senior year. He was also the editor at the university’s paper and published a number of my poems and essays while we were there.
University of the Pacific Raymond college history
Raymond College, an undergraduate honors college at the University of the Pacific, existed from 1962 to 1979. Located in Stockton, California, it was a unique institution with an interdisciplinary curriculum that emphasized learning across the natural sciences, social sciences, and humanities. Let’s delve into its fascinating history:
Founding and Vision:
Raymond College was the brainchild of University of the Pacific President Robert Burns. Faced with a new generation of qualified applicants, he sought to create a personalized educational experience for students.
Inspired by the success of Oxford, Cambridge, and the Claremont colleges, President Burns envisioned residential cluster colleges as a way to maintain high academic standards while expanding the university.
Raymond College was the first of three cluster colleges developed under this vision.
Curriculum and Structure:
The college offered an innovative interdisciplinary liberal arts curriculum.
Initially, it provided an accelerated three-year program, but later expanded to offer a four-year program as well.
Key components of the curriculum included:
Introduction to the Modern World: A shared cohort experience for incoming first-year students.
Language study: A year of language learning.
Math, physics, chemistry, and biology: Sequential courses.
Humanities and social science classes: Literature, philosophy, art, religion, economics, history, psychology, and sociology.
Students received written evaluations (term letters) instead of traditional letter grades.
Provost and Philosophy:
Provost Warren Bryan Martin played a pivotal role in shaping Raymond College.
He emphasized the importance of the liberal arts and the holistic preparation of students for a fulfilling life.
The first class of students arrived in the fall of 1962.
Legacy and Impact:
Raymond College influenced the entire University of the Pacific.
Its emphasis on student-centered learning, liberal arts, and interdisciplinary studies raised academic expectations across campus.
The college operated in the tradition of the liberal arts, fostering intellectual curiosity and engagement.
He is a talented writer and musician living in Clear Lake California.
you can check his work out here at Medium and on Substack as well as on his web page
Roy Dufrain.Com
THE YEAR OF TWELVE SONGS is my latest music project. Some of you got a preview recently, with an all-acoustic version of a song called Finish Strong. Now I’m sharing a new version with added instruments and my efforts at sound production. Plus some backstory and something sort like old-fashioned liner notes (remember those?). I plan to do this with a different song every month and hopefully learn a lot in the process. Check it out with the link below and let me know what you think.
This is my 8th annual December ramble about the books of my year. Not necessarily books that came out this year, but books I read (or heard) that moved me, taught me, made me cry, or cracked me up. It kind of feels like I’m late with this year’s edition but hey—two-day shipping at your preferred online bookseller, right?
FICTION
Nowadays I often avoid reading the latest best-selling, prize-winning, must-read fiction that everyone’s talking about. Because over the years I’ve learned not to trust hype. I like to wait a few years to see if anyone’s still talking about the book. See if the title comes up in a discussion and someone says, God, I loved that book, years after they read it, and they start talking about the character or scene that stuck with them. To me, that’s how you know. Not by critics’ reviews book trailers or Reese Witherspoon. (However, if Ms Witherspoon is out there somewhere, this does not mean I wouldn’t want MY book on your list someday! Just sayin’).
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But this year I read two of the latest novels from two big names in fiction—because I had loved previous work by both authors and because multiple writer-friends flat-out raved about these new books. And now I will rave about them myself.
Demon Copperhead, by Barbara Kingsolver, is the best novel I’ve read in years. The best overall reading experience that delivers in all facets. The sense of total immersion in a world, the intense rooting interest in a main character, the epic scope of historical context, the deep underlying interrogation of the real world, and the sheer delight in artful language. I can’t think of what more to ask from a novel. And, frankly, I can say pretty much the same things about The Vaster Wilds, by Lauren Groff, although Groff’s tale delivers in its particular way. Read them both, and see what you think.
NON-FICTION
The Gutenberg Revolution: How Printing Changed the Course of History, by John Man. Okay, I admit there are maybe three people reading this who could be marginally interested in this book. One of them is my father, a fellow ink-stained wretch as we used to say in the biz. And the others have similar or adjacent backgrounds. But, even if you don’t have ink and perhaps newsprint in your blood, or an old pica pole in a desk drawer at home, this is a fascinating blow-by-blow account of the twists and turns of fate, greed and genius that resulted in one of humankind’s most impactful technologies, on a par with gunpowder, the electric light or the personal computer.
BONUS NON-FICTION
Beatles 66: The Revolutionary Year, by Steve Turner. An amazingly detailed, month-by-month tour through a year in which the world changed the Beatles and the Beatles changed the world. I went to Audible on this one and listened to most of it in the car on a long drive to and from a writer’s retreat. It made for a great company.
Consider This: Moments in My Life After Which Everything was Different, by Chuck Palahniuk, author of the novel, Fight Club. This is a very different kind of craft book: personal, direct, funny, truth-telling, even illuminating at times. The subtitle hints at one of the biggest takeaways because Palahniuk is referencing what he sees as the key piece of wisdom he has to pass on—in the end, writes about the moment after which everything was different. If that gets your writer’s brain running like a hamster, this book’s for you.
And in the GREAT BOOKS BY NICE FOLKS I KNOW category… Far Sickness, by writer/teacher/editor Joshua Mohr, who is a huge favorite among scribblers here on the Upper Left Coast. This slightly demented short novel—a collaboration with Josh’s ten-year-old daughter Ava—seems to live somewhere between the old Fractured Fairy Tales cartoons from the Rocky and Bullwinkle Show, and a Guillermo del Toro film, and this juxtaposition of innocence beside horror is only enhanced by Ava’s charmingly bloody illustrations. But underneath all of that is a heart-wrenching journey through the deepest kind of trauma and regret to somewhere resembling hope. Which is exactly what readers usually get from Josh’s work.
That’s all for this year, folks. Remember, as Stephen King said…
“Books are a uniquely portable magic.”
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I was watching the movie based on Cheryl Strayed’s memoir Wild, and there’s this scene where a little boy with the sweetest voice sings Red River Valley to Reese Witherspoon. I hadn’t heard that song in I don’t know how long, and in an instant I was transported—in that way that a song can flip a switch and turn your mind (and your heart) into a four-chord time machine. Know what I mean?
I was no longer a late-middle-aged man reclined on my couch watching Reese Witherspoon’s hit movie. I was eight or nine years old, and it was 1966 or 67. My older sister Debi and I were staying with our grandparents somewhere in Sacramento. I don’t remember why or for how long, yet I’m sure I could draw an accurate floorplan of the tiny one-bedroom bungalow they had. Memory is such a rickety contraption
Every summer I try to watch the Little League World Series on ESPN. At least a few innings here and there or a game or two in the earlier rounds of the tournament, and then of course the championship game. It always refreshes my love of the game of baseball.
Little Leaguers epitomize the art of trying. No one plays with more heart. Certainly not the professionals who make millions of dollars playing for the corporations masquerading as teams in Major League Baseball. These kids throw and catch and swing and hit with such intensity, they run and jump, they dive and slide, they smile and laugh and cry and scream, and they radiate joy and a full immersion in the moment that seems to elude the professional players, indeed the modern adult in general.
They also remind me of how I fell for the game in the first place.
It started when my dad took me to Candlestick Park when I was little. Five years old, Giants and Cards, 1963. I saw Willie Mays and I was awestruck by his speed, his grace, his power and magnetism. Unforgettable. But it really took hold a few years later when I started playing the game myself. And watching the kids in the Little League World Series always takes me back to that.
Three Flies Up on the playground during recess. Saturday pick-up games with five guys on a side. Playing catch with Dad in the front yard. Wiffle ball at the neighbor’s house. Imaginary games played in my head while bouncing a beat-up dirt-brown hardball against the retaining wall until holes broke open in the cinderblock. Eight years old on my first team, looking at my coach like some mythical hero. Breaking in a new mitt with glove oil, an old ball and two shoelaces. Ten years old in my first full uni, real cleats, stirrup socks.
The Turner Gas starting nine. In the late 70’s I helped coach a Farm League team.
In the late 70s, I coached a Farm League team (there was still no such thing as Tee-ball, at least in my town) for a couple years with some buddies, a few guys I knew from school or work. Man, we were a motley crew. Bunch of hard-drinking working class heroes, some of us barely into our twenties, none of us great players or even great students of the game. But every one of us had played and loved the game as children, and every one of us loved passing that on to the kids we coached.
Our team never went to the Little League World Series, but our kids played with the same joy and the same all-out effort. To the limit of their skills (or perhaps their coaches’ skills), and with every bit of their hearts. And I’m willing to bet many of them came away with a deep and abiding love of the game.
In recent years, Major League Baseball officals have been in the workshed, frantically tinkering with the game, turning this screw, hammering that nail, wrenching on bolts. All in the name of attracting more fans, specifically younger fans. They’ve made a series of rule changes to speed up play and create more offense in the game. They’ve even hooked up with a huge gaming firm to juice up fan engagement. That’s right, MLB, for all intents and purposes, now has an official league bookie (but that’s another rant all by itself).
Individual teams have also made changes to their product, changes designed to appeal to a younger crowd. At their ballparks, they’ve added huge video screens and booming sound systems and countless promotional gimmicks.
Dad, me and Mrs D at Oracle Park, 2023.
I saw this first-hand when my wife and I took my father and a friend to a Giants game this year. I’ve been to my share of games over the years, both at Candlestick and Pac-Bell/AT&T/Oracle Park, although I hadn’t been in awhile. We live 2.5 hours from San Francisco, so it’s always something of a project to get to a game. And man, it’s gotten expensive. Even though I got the tickets fairly cheap, the travel and the food and drink kicked my wallet’s ass. (For example: just four dogs and four beers, $108.) Throw in another round and a little merch and my VISA card was crying uncle.
And the experience this time was… different.
I’ve always enjoyed the roomy rhythm of live baseball. You know—it’s a breezy shirt-sleeve salty beerfoam day. You start up a conversation with the stranger in the next seat. Maybe someone on the other side of you is patiently, diligently—and quietly—recording the details of the game on their scorecard. You laugh at the heckler several rows down. Hey Blue, he says, Try using both eyes. There’s a guy coming down the stairs yelling, Beer here, cold beer. You can actually hear the pop of a fastball hitting the catcher’s mitt and the umpire yelling, Stee-rike! The organ player plays the intro and the crowd yells, Charge! right on cue. At the crack of the bat, the whole place roars or groans in unison.
If you’re an attentive fan, you’re watching to see how the players adjust to every pitch. Is the centerfielder playing deep or shallow, straightaway or cheating left or right? Are the infielders at double-play depth, or drawn in to prevent a score from third? Does the batter adjust his stance or grip with two strikes on him? Where is the catcher holding the target for the pitcher? How big of a lead is the runner taking off first?
And I’ve always found there was time for all of that and more during a day at the ballpark. Not just time but space, as in mindspace, or call it the capacity to process stimuli. Like I love it when you see someone taking a nap at a baseball game. I don’t think of them as being bored; I think of them as being relaxed. You never see someone nodding out at an NFL game, right? I’ve been there. Way too loud and crazed for a nap.
Anyway, that whole feeling of comfort was missing from this last trip to Oracle Park. Don’t get me wrong—the park is still beautiful and inviting, and the staff was wonderfully personable and accommodating to my 90-year-old father. But the overall experience felt cluttered, uncentered, diluted. Like a novel without a main plot.
There is a nearly constant roaring jumble of sounds that distracts from rather than enhances the game. Incredibly loud, pounding music in five-second snatches before and after almost every single pitch, piped-in beat-heavy pop music at a volume that completely precludes normal conversation with your friends, much less strangers. I honestly think there was more music than game. There is so much music the poor old organ player can hardly get a chord in edgewise.
The crack of the bat seemed diminished by comparison. The game itself seemed smaller.
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I’m actually okay with most of the new rules. I was feeling puritanical about a couple of them at first, but oh well. On TV, I do appreciate the quicker pace. I mean, we all had enough of the guys who stepped out every pitch to get all OCD with their batting gloves. And I think, on the field this is still essentially the game of baseball. But in the stands, I don’t know. In the stands it feels more like a carnival or a disco surrounding a nearby baseball game.
All of this makes me wonder, does MLB even like baseball?
They’ve taken some of the pastoral nature out of the game. I’ve always heard, in a competitive business environment you need to differentiate your product, market what makes you special. But MLB and its team owners are making baseball more and more like every other sport. Loud, fast, powerful and showy on the surface, boom, crash, bang.
And maybe that’s not how you create real baseball fans. Not with louder music, or in-game betting come-ons, or even by tweaking the game for quicker play or more offense. Even though I hear attendance is up this year, I’m skeptical any of that will directly result in more hardcore baseball fans in the future.
When the Giants won it all in 2010.
Because maybe true baseball fans are made not in the stands, but on the field.
In playgrounds and sandlots, in front yards and neighborhood streets. With fathers and mothers and brothers and sisters and friends and teammates and teachers and coaches and the heroes among them. With taped-up bats and mud-stained balls and hand-me-down mitts and the jackets our mothers made us wear thrown down for bases. Or in our first full uniform, our first pair of cleats. Those stirrup socks. Chatter from the dugout, a fresh-raked diamond, chalk on the baselines, a new-mown outfield.
Yep, I think that’s the easiest way to get it, that lifelong bone-deep baseball jones. Not in the stands or on TV, but playing the game. Like the kids in the Little League World Series and the kids I coached back in the 70s. And like me.
I still love watching the Giants, and I treasure all the memories I have, from The Stick to Oracle and Mays to Posey. I’ll still be on the couch with Krukow and Kuiper talking ball in the booth and the Orange and Black on the diamond. But now I’m not sure when, or if, I’ll ever go back to an MLB ballpark.
And that makes me a little sad.
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On hot Saturdays the neighborhood men took refuge in their garages.
They opened their garage doors and ran portable fans, and they turned up the Giants game on the transistor radios that sat on their workbenches. The men fixed things and made things and drank bottled beer out of old round-shouldered refrigerators. Wives and children were generally not invited.
That summer of 1966, Bobby Highfill and I were both eight years old. Our mothers were forever shooing us out from under their feet and into the great outdoors, which in our corner of suburbia consisted of a few square blocks of housing tract and one dead-end street of undeveloped lots known to local kids as the Trashlands, where Bobby and I both served honorably in the Great Dirt Clod Wars of Concord, California.
Another garage to which we were generally not invited belonged to Mrs. Chambers, a widow who seemed to always have her hair in curlers and parked her pale green Hudson Hornet by the curb and turned the garage over to her only child’s rock and roll band. Her son, Larry Chambers, was the lead guitarist, and my own uncle sang and played rhythm guitar.
Uncle Art, my mother’s baby brother, lived with us on Cranbrook Way because he’d been kicked out by my grandparents for reasons my mother insisted I was too young to understand. He was seventeen years old, and he went to high school and drove a red Corvair and had a blonde girlfriend who wore pink lipstick and pointy sweaters. And he played guitar in a real working band that played dances all over the Bay Area and once opened up for Martha and the Vandellas.
The band was called the Royal King’s Four. They played Top Forty fluff like Sherry by the Four Seasons and Sugar Shack by… whoever the hell did Sugar Shack. But, like every other cover band in the world in 1966, they were now learning Beatles songs as fast as they could.
They rehearsed in Mrs. Chambers’ garage, usually in privacy, but when it was hot they would open the garage just like the neighborhood men. A small crowd would gradually form in the driveway, mostly teen girls in tight shorts with pastel blouses tied up in front to flash their soft, smooth bellies. Yes, even at eight I noticed how the girls were drawn to the music. But Bobby Highfill and I would wriggle our way through the girls to get a clear view of the band. Well, not the band so much as their instruments—more precisely, the guitars.
The guitars were called Stratocasters, and they were magical. Mysterious chrome knobs and complicated hand movements controlled the sounds that traveled across the wires and erupted from the amplifiers as sparks of music. The guitar my uncle played was painted like a flame, and Larry’s guitar was black as his bad-boy pompadour. When the band took a break, the Stratocasters were laid down in cases lined with gold velvet, where they waited for their masters like swords locked in stone.
It’s possible to want something so much that you don’t dare ask for it or even speak of it, for fear of the hole that a no would leave in your heart.
And yet, someone noticed.
It was one of those hot Saturdays, and Bobby and I were pedaling our Sting-Rays homeward after another glorious battle in the Trashlands, when we heard his father’s whistle on the wind. I’ve never been able to whistle like Mr. Highfill. My sister learned to do it, but I never could. He had one of those two-finger whistles that you heard from blocks away and recognized as a command. We pedaled harder.
When we arrived at Bobby’s house, Mr. Highfill stood in the driveway, arms crossed. The garage door was open. He was a balding man in khaki slacks and a short sleeve button-down shirt. I’m not sure I ever knew what he did for a living—sales I think, but of what I have no idea.
We skidded to a stop and dropped our bikes on the front lawn. Without a word, Mr. Highfill turned and, with a wave of his arm, invited us into the garage. We followed numbly beyond the raised door, into the inner sanctum, where the fan whirred and the refrigerator hummed and the fluorescent light sputtered. The live smell of fresh sawdust and the sweetness of paint hung in the warm air.
Mr. Highfill took something off the workbench and bent down to lay it in my arms. It was my first guitar—handmade from the finest materials available in the closets and garages of suburbia: a Keds shoebox for the body; a plywood neck, nails for string pegs and four industrial-strength rubber bands for strings. The plywood was marked with thin stripes of brown paint to represent frets. The shoebox body of the guitar was spray-painted cherry red and decorated with golden musical notes rendered in glitter and Elmer’s glue.
It was the most beautiful, most inspiring thing I had ever touched.
My own father often said that I was old before my time. I was an oddly serious kid, frequently reading deep meanings in the tea leaves of my young life, and in my restless mind the red shoebox guitar foretold something momentous and inexorable. Of course, Bobby received a matching guitar, and I decided right then that we were manifestly destined to embark on a career as a performing duo.
But first, we needed a repertoire.
A year before, when I was seven, my favorite Beatle was Paul—you know, the cute Beatle. I liked John too, but he was merely the clever and cheeky Beatle. Some would say he was actually a smart-aleck punk overflowing with attitude. Then, at a certain point, it became clear that John was something more—he was the troubled Beatle.
It became clear with the song, Help! It was one of the first Beatles records with lyrics that were noticeably more complex and interesting than “I want to hold your hand” or “She loves you, yeah yeah yeah.” I didn’t understand my reaction consciously at all, but I was drawn to it immediately. (Like I said, an oddly serious kid.) Forever after, my favorite Beatle was John—the Beatle with inner demons.
Bobby and I spent most of that Sunday in my bedroom with a portable phonograph, a notepad, and the 45rpm record of Help! By day’s end, we had the vocals down cold… okay, we had the vocals down lukewarm.
Next, we needed outfits.
All the big bands wore matching outfits. The Beatles had shiny blue-gray suits with collarless jackets and black leather boots. The Beach Boys had striped shirts. Every band on TV matched—except for those hoodlums, the Rolling Stones. Even the Royal King’s Four had matching suits and skinny ties and boots like the Beatles.
Bobby and I had seen pictures of the Beatles wearing turtleneck sweaters, and we each had red turtleneck shirts. We’d seen the Royal King’s Four wearing their jeans “pegged” at the bottom, and we bothered our mothers into doing the same to ours. But we still needed that final touch.
We needed the boots.
I don’t know how Bobby got his Beatle boots, but I had my aunt to thank. It happened when I was dragged along on a shopping trip with Aunt Irene and my mother. My two older sisters could be left on their own for the entire day, but I could not be trusted to the same degree.
The shopping itinerary included Kinney Shoes. The ladies inspected pumps and flats and sandals and kept the salesman busy measuring their feet and helping them with try-ons. I posted myself at the display of kid-size Beatle boots, and I didn’t move. I didn’t say anything. I just stayed and stared in a trance of longing. Like all mothers, mine was adept at tuning out her children when convenient. And my Aunt Irene was not a sucker for a child’s dreamy yearning. She was a woman with both the posture and character of a straight-backed chair. But, to my surprise and relief, she became my benefactor. “Will you buy the damn shoes already,” she said to my mother. “I can’t stand to look at him anymore.”
Now, all we needed was an audience.
Our first (and only) paying gig was something of a guerrilla performance. We were not, per se, invited to perform in Mrs. Chambers’ driveway. However, it was conveniently located within our limited touring radius, being just down the street from my house on Cranbrook Way.
We showed up on a Tuesday afternoon unannounced, looking sharp in our matching turtlenecks, pegged jeans and Beatle boots. The garage was open and the Royal King’s Four were practicing. A crowd of four or five girls loitered on the concrete, popping their gum, looking out cooly from under long bangs. We waited for the band to take a break, then we stepped out front with our matching shoebox guitars.
Our setlist for this engagement consisted of Help!… followed, of course, by an encore performance of Help! In the showbiz vernacular of today, we killed. We were paid a whole quarter each by the fawning Mrs. Chambers and every member of the band. The teen girls squealed and said “Aww, so cute.” One of them tousled my hair.
Being an oddly serious kid, I quickly invested most of my fortune in literature. Batman, Superman, Richie Rich, Little Archie. Comic books were twelve cents apiece then, three for a quarter. I’ve since performed for less satisfying payment on more than a few occasions.
I didn’t yet know that the summer of ‘66 would be my last on Cranbrook Way.
My father was fed up with the Bay Area rat race, especially some of the rats in charge. He found a new job in a small town by a big lake in the distant hills of Northern California. The Royal King’s Four broke up when Uncle Art joined the army. On our last day in Concord, Bobby came over to say goodbye and we took one last spin around the Trashlands on our Sting-Rays. Then my father added my bike to the pickup load while Bobby and I stood on the bright sidewalk and shook hands like men as tears slipped onto our cheeks.
I found my second guitar under the Christmas tree in 1968—a three-quarter size Harmony acoustic from the Sears catalog. Classic sunburst finish, with a white plastic pick guard and a golden braided cord to use as a strap. I begged my parents for lessons at the local music store known as Bandbox Music. I was sure that Skip, the owners’ son, would turn me into a full-fledged guitar god in no time at all.
After three weeks of one-finger chords and plinking out Twinkle Twinkle, I was hopelessly, irredeemably bored. Now I begged my parents to let me quit. But, thanks to those excruciating lessons, I wrote my first song in 1970, an instrumental I called Psychedelic Butterfly. By then I was twelve years old, the Beatles had broken up, and I was newly under the musical spell of Jerry Garcia and the Grateful Dead.
I guess you’d have to say that Harmony acoustic was my first “real” guitar—certainly more real to the hands and eyes and ears. But perhaps not to the heart.
My newest guitar is a beautiful all-mahogany Martin acoustic that cost more than many automobiles I’ve owned. But, every time I pick it up, some part of me is back at that garage on Cranbrook Way, keeping time with my Beatle boots and strumming that glittering red shoebox guitar.
I remember the precise moment I first heard John Prine’s voice, even though someone else was singing. That’s how distinctive his songwriting has been.
This was the fall of 1975, during the first few weeks of my time as a student at the University of the Pacific in Stockton, California. The division of UOP I was enrolled in was called Raymond College, and it was one of those semi-experimental, accelerated, interdisciplinary liberal arts programs that had become quite popular in the 60s—in other words, a haven for nerdly hippies like myself and other brainy kids who saw themselves as square pegs in the big old round-holed world of higher learning.
It was a semi-regular function at Raymond for students to stage their own version of “Show and Tell,” sort of a smart, young and mouthy update on the old grade school tradition. And so it happened, at the first Show and Tell that I attended there, in the Raymond Common Room right off the quad, that an older student strapped on an acoustic guitar, took the stage and performed Prine’s song, Illegal Smile, a wry and winking ode to the stress-busting benefits of unnamed controlled substances.
The humor and the folksy wordplay in the title lured me right off. Then I was hooked by the rebellious mischief in lines like: “Won’t you please tell the man I didn’t kill anyone, no I was just tryin to have me some fun.” But also the hint of depth in the verses: “When I woke up this morning things were looking bad. Seemed like total silence was the only friend I had.”
Then a line only Prine could write: “A bowl of oatmeal tried to stare me down. And won.”
It’s quintessential Prine, giving you the shallows of depression wrapped up in a self-deprecating joke, all in a simple unassuming image that sticks to the side of the bowl of your heart.
So, thanks to Steven Meinrath, wherever you are, for introducing me to John Prine’s voice that night at Raymond Show and Tell. It has led to many indelible memories scrawled across decades of my life.
By my second year at Raymond, I had become something of a Prine evangelist, spreading the good news of his workboot wit and wisdom to a cousin, a sister and a few left-behind high school buddies and crushes. “You gotta listen to this!” I’d say. “It’s like a whole goddamn novel in a three-minute song. It’s some kind of country existentialist parable.” And I’d put the needle down on “Six O’clock News,” a haunting tale of illegitimate birth, diary secrets and suicide, in which the past sings harmony with the present and the knick-knack shelf has a speaking part. In the final scene, Prine sings: “The whole town saw James Lewis on the six o’clock news. His brains were on the sidewalk, and blood was on his shoes.” Then, for the final time, the past echoes the refrain: “C’mon baby, spend the night with me.”
Around school, in the dorm rooms and disheveled off-campus rentals where empty bottles clattered in the morning trashload, a small enclave of cultists formed. There was me and my girlfriend Emma, plus a redneck pharmacy student nicknamed Eddie simply because his surname was Haskell, and two blandly named engineering students, John and Steve. Truthfully, the engineers barely put up with it, but the trio of Emma, Eddie and I were hardcore. I remember the three of us standing around a yardsale table in someone else’s kitchen, singing Prine songs loudly from heart-memory in drunken acapella far after our schoolnight bedtimes.
And I remember the summer after I dropped out of UOP and thumbed down the California coast with my copy of Kerouac’s On the Road in the back pocket of my overalls. I met a junkie Nam vet named Terry who wept honest tears right there on the onramp when I sang Sam Stone, Prine’s sad and sharp-eyed portrait of a vet who o.d.’s after coming home from the war. “There’s a hole in Daddy’s arm where all the money goes,” Prine laments, and today, after a white-powder past of my own and a veritable police lineup of friends and family lost to the low ravages of hard drugs, that searing image still stings the heart like the cherry of a lit Marlboro.
It might not seem an obvious connection, but there’s huge crossover between fans of The Grateful Dead and John Prine. I remember the parking-lot joy of singing Prine songs with a just-met burrito-selling guitar player outside a Dead show at Cal Expo in Sacramento. And you can always spot a few Dead shirts at a Prine show, at least in Northern California. Prine speaks to the Dead’s Americana foundation that was built in to Jerry Garcia’s bluegrass roots, Bob Weir’s love of cowboy songs, and lyricist Robert Hunter’s deep poetic connections to the mythologies and imagery of Old West outlaws and Depression Era wanderers. Like much of the Dead’s work, Prine’s songs were obviously not designed and constructed with the market in mind. In fact, these songs don’t feel designed at all, but rather, revealed, in the sense of a sculptor of song chipping at the rock of his experience with simple sounds and rhymes, finding an image, a figure, a theme, and honing it to rough perfection.
To the audience’s ear and eye and heart, Prine did not perform these songs—the songs were him, and he was the songs.
Many pop, rock or even pop-country fans still don’t know Prine’s name, but ask other artists who their favorite songwriters are, and his name often comes up. Johnny Cash once put him in his “top four.” Roger Waters of Pink Floyd called his work “extraordinarily eloquent.” None other than Bob Dylan has also named Prine as a favorite. Elvis Costello said what he desperately wanted to do when he started out was write songs like John Prine. But he couldn’t. No one can.
Lazy magazine writers will write about Price’s work and call it the poetry of the common man. But it’s not. It never was. He was not a common man. He was a quite uncommon artist who happened to come from a common history. Small town Midwestern upbringing, undistinguished military service, a limited non-classical musical education, delivering the daily mail in Chicago while making up songs as a hobby. It’s that meeting of an uncommon mind with a common past, that artistic but grounded knowing of the ordinary, that gave him the standing to say what he said the way he said it. Like no one else. This is the elusive and prized quality of authenticity, which I think really comes down to honesty. Prine had all of that in spades. He had a royal flush of it.
Down through the years, I saw Prine perform live four times. I wish it were more because each of those four shows is in my top twenty concert memories of all time. But I’ve been lucky in a weird way because each of the shows was in a different decade—late 70’s, early 80s, early 90s, and late 2000s (or “oughts” if you prefer). So, each show was at a different point in Prine’s career but also at a different point in my life. This has made it feel as if Prine’s songs and my heart met in a different space each time, as if the songs kept finding other parts of me to touch.
In 1990, my sister Debi was 35 years old and dying from a rare lung disease called pulmonary fibrosis. I was living with her and my two little nephews, trying to be of some use during the mystifying and relentless progress of her disease. I had turned her on to Prine way back in the 70s, and his music had ever since been something we had a special connection over. Early in that last year of her life we made it to Berkeley for a double bill of Prine and Nanci Griffith, another shared favorite. We sat in the eleventh row with Debi’s oxygen tank on the floor between us.
My sister, Debi, 1988.
At one point it all became too bittersweet for me.
Prine was singing Bruised Orange (Chain of Sorrow). The chorus goes like this: “You can gaze out the window, get mad and get madder, throw your hands in the air, say what does it matter? But it don’t do no good to get angry, so help me I know. For a heart stained in anger grows weak and grows bitter. You become your own prisoner as you watch yourself sit there, wrapped up in a trap of your very own chain of sorrow.”
I was deep-down angry and weak and bitter at the approaching death of my sister, but Debi was one of those rare people who lived instinctively by the advice in those lyrics. She was not wrapped up in a chain of sorrow. I looked over at her with a tear slipping down my face and she just smiled and nodded her head at the song and at my tear. It was the last concert she ever attended.
I’ve never believed in heaven, and I’m damn sure these days that your flag decal won’t get you in, but maybe a life of picking up a guitar, opening up your country mouth, your full heart and slightly disarrayed mind, and then reaching a million other people in the gut, where their own deep histories live—maybe that could get you in if there is such a place. I ain’t in charge, but it sure would count by me.
During my weeklong recovery from oral surgery — an altered state I have affectionately referred to as “Fuzzytown” — Mrs D and I watched the entire Godfather trilogy on three successive evenings.
Of course I have seen all the movies more than once in the past, but never in such close temporal proximity. Admittedly, I was in the company of my new friend Mr Norco for the duration of these screenings, but nevertheless I have some thoughts…
One thing is clearly undeniable: the original Godfather movie (released in 1972) still holds up as one of the great films of our time. Marlin Brando’s portrayal of Vito Corleone is absolutely brilliant and magnetic, a model of complete inhabitation and revelation of character equal if not surpassing his astounding and seminal work as Stanley Kowalksi.
Also, the story arc of Michael Corleone — the inexorable unveiling of the gathering momentum of his coming of age as he is incrementally transformed from his family’s beacon of redemption to its shadowy emperor of murder — manages to approach the finest Shakespeare tragedies in both its insight into human frailty and its mythical qualities.
Godfather II is really about the extraordinary talent of the evolving Michael Corleone (and by extension all of humanity) for self delusion, compartmentalization and rationalization. And through the extensive backstory sequences of Robert De Niro as young Vito, this “second act” underlines one of the major themes of the trilogy — that of family history as inescapable and incontrovertible destiny. At the end of the movie, when Michael goes so far as to kill his own brother to preserve his power, we see Michael at something akin to an addict’s “rock bottom,” a place where absolutely any decision is possible… except the decision to face his own wrongs.
Godfather II is made somewhat choppy by the numerous time shifts and flashbacks, and I frankly think it’s been overrated simply on the strength of the young De Niro’s magnetic screen presence, and the audience’s understandable satisfaction in connecting De Niro on screen to Brando, whom we all recognize as his natural predecessor, both in terms of talent and intensity.
Godfather III has been much criticized for various reasons. Yes, it’s true that Sophia Coppola’s performance is wooden and amateur. Even this sofa jockey, watching under the influence, was wincing as some of her lines clunked out of the surroundsound like malformed Playdoh bricks. It’s also true that the great Robert Duvall’s absence is a significant disappointment. His performance as Tom Hagin, the Irish orphan adopted off the streets into the Corleone family, (never quite receiving the full acceptance he was quietly desperate for), was wonderfully understated and poignant throughout the first two films. And it’s true that the storyline of this film is perhaps not sufficiently compelling on its own. But frankly, the second movie does not stand on its own either.
However, seeing all three movies in quick succession and taking them as a whole, I think Godfather III is underrated as a third act to the overall story. What we see is an older, hollowed out Michael Corleone, physically and psychically exhausted from the Sisyphean task of preserving his power, his identity, and his internal sense of correctness. Publicly he is making one final show of claiming legitimacy, while privately he is confronting the likelihood that redemption is out of reach for a man of his crimes.
His one desperate plea (or play or ploy) is for simple forgiveness… and perhaps some semblance of peace… perhaps a truce or at least a stalemate with his past. Yet, Godfather III provides one of the most indelible lines of the entire trilogy when Michael stands in a kitchen after learning that all of his machinations are crumbling around him in betrayal and violence… then, with fists clenched and shoulders collapsing in defeat toward the very center of his being, he growls to the heavens…
“Just when I thought I was out… they pull me back in.”
That one line sums up the futility of Michael’s struggle throughout the entire trilogy — the struggle against the momentum of his darkest possible destiny, the struggle against his coldest and most remote self. And the universal resonance of that moment is that it sums up our own struggles to overcome the weaknesses we all recognize in our darkest mirrors. In the end, there is nothing that Michael Corleone can do, no one he can pay, and no one he can murder to prevent his sins from becoming his legacy.
Perhaps God and his son are capable of forgiveness, but history does not offer such refuge. At the end of his story, we and Michael are left with only one inescapable reality: that each of us is capable of destroying our own soul at the smiling behest of our quietest desire.
Taken as a whole, the Godfather trilogy is one of the great literary experiences available in American film. That is why it has lived on as an important touchstone of our culture’s mindset for many years now. Michael’s journey taps into something that is timeless and specifically human; his story is not simply a morality play about power’s corruption, but a deeper exploration of the human desire to rise above our meanest impulses, the drive to be truly in charge of the history we make, and the dream to live out the love and justice we imagine we are capable of.
Before that was my blustery Hemingway period, and afterward my disastrous Hunter S. Thompson period. But 78 was Kerouac, and in the spring I drifted out of college and began to dream of going on the road.
If Not Words was previously published by the literary journal, Scarlet Leaf Review. (scarletleafreview.com) Estimated reading time: 18 minutes.
Of course, I needed a Neal Cassady—a running buddy like the mad ones that Kerouac famously shambled after, the ones who are “mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars.”
That was what I needed. What I had was Pat Kelly.
I first met Pat in Lupoyoma City, a small-minded town next to a big muddy lake three hours north of San Francisco. He was the new kid in eighth grade, from Texas by way of San Jose, with a junkie father locked up in San Quentin and his fortyfiveish mother shuttling drinks at the Weeping Willow Resort & Trailer Court. I won’t go into it here but, at the time, I was in a murky state of social exile myself, due to a local scandal involving my family. What drew me to Pat was our shared status as temporary outsiders, and the fact that he was completely unimpressed by Lupoyoma gossip. That just wasn’t how he measured the world.
I met him because our American History teacher sentenced him to three swats for “cracking wise.” The teacher had a thick wooden paddle drilled with holes to reduce wind resistance. Pat rose from his backrow desk and said, “Now, how much history do you think I can learn from three swats?” He was taller and older than the rest of us. Straight blondish hair, parted down the middle and tucked behind jughandle ears. Tanktop shirt and wide bellbottoms over black motorcycle boots, and his wallet on a silvery chain secured to a belt loop. He took long gangly strides to the front of the classroom, with his chin up and his shoulders back.
The teacher glowered. “Make it five then.”
Pat faced the class and grabbed his ankles. The teacher swung for the fences. Pat overacted a mockish “Ow!” with every blow, and the teacher tacked on another two swats—to zero effect on Pat’s demeanor. I had a front row desk, and after the final swing Pat straightened up and flashed his wide floppy grin at me, then earnestly advised the teacher to watch the Jack LaLanne show. I laughed. The whole class laughed. The teacher pointed at the door and ordered both of us to the principal’s office. On the way out Pat paused at the threshold, looked back across the room and said, “Seven a.m., Channel 3,” with a big wink, and turned out the door. He had something I hadn’t seen before—an attitude or quality I admired, even coveted, but couldn’t name at first.
In those days I collected baseball cards and words—words I read or heard and wanted to remember or accrue to my character.
I had the young idea that words had a way of adding up to a man, and I wanted to choose the right ones. Words that said, listen, and rang the air like silverstruck crystal. I wrote down their definitions in a reporter’s notebook that was spiral bound and narrow, with pages that flipped rather than turned. My father was the editor of the town newspaper and I’d stolen the notebook from his dour, disciplined office. I kept it under my bed in a Keds shoebox with the baseball cards.
Exultation was the word I collected for Pat. Triumphant joy. He measured his world in degrees of exultation though he’d likely never seen the word. It was a way of being in the world that I wanted to understand and claim for myself. Late on a school night, with the rest of the house quiet and dark, I sat crosslegged on my bed with the paperback dictionary splayed open in a circle of lamplight and copied the definition into the reporter’s notebook.
We ran together all that school year, in creeks and alleys and neglected vacant lots, in parks and ballfields and quarter arcades. Cut classes to fish by the sunny lake, trespassed in empty dilapidated houses and burglarized the Little League snackshack. Partners in boyish crime.
Once, we kind of stole a car. Just a daytime joyride around the pockmarked backstreets of Lupoyoma in a big Chevy station wagon that belonged to some girl’s mom. That girl would do anything for Pat. And if she didn’t, another girl would. But her mom did not feel the same, and neither did the city police. Their entire fleet of vehicles—all three—converged on the station wagon at a four-way intersection. Black and white Fords and spinning red lights to our left, right, and rear. The street in front of us was clear—Pat could’ve gunned it and started a chase, but he calmly pulled over, put the car in park and turned off the engine.
“Oh shit, we’re going to jail, my dad’s gonna kill me,” I said.
Pat grinned and shrugged, “Win some, lose some, partner.”
Between us on the green vinyl bench seat, the girl was sobbing. Pat put his arm around her, gently tilted her head and kissed the top of it.“Don’t worry darlin,” he said, in that Texifornia drawl. Then he opened the car door and stepped out like a fifteen-year-old man.
The girl and I were immediately cast by the presiding adults as good kids under a bad influence, and we were ordered out of the way as officers handcuffed Pat and marched him toward one of the police cars—chin up and shoulders back.
I heard around town that he was sent to the notorious Bottlerock Ranch, the closest thing to reform school in Lupoyoma County.
I didn’t see him until a year later, the day we became cousins. Well, my cousin married his cousin, and Pat figured that made me and him cousins too. I still don’t know if that’s correct, but such technicalities were not Pat’s concern. From that day on, whenever I ran into him, whenever he spotted me in a crowd—at family weddings or funerals, July picnics, or drunken teen parties—he’d always wave his arms and holler out, “Cousin! How the hell are ya!” He never lost that thing I was trying to pin words on, even with the cops always on his case and rarely more than ten bucks and a wink to his name.
I graduated from Lupoyoma High in 75, but Pat already had his G.E.D. and loved to remind me that he earned it at continuation high solely by reading through their collection of Louis Lamour. When I told him I was going away to college, he pshawed and said, “Cousin, you’re doin it the hard way.”
Emmalita Romero was somehow immune to Pat Kelly’s charms. In 1978, she and I were scholarship kids, chasing upward mobility at the small, ivy-aspiring University of the Pacific in Stockton. We had met in Economics 101, which Emmalita eventually aced and I did not complete. We lived off-campus in a rickety one bedroom apartment on a dead-end street—and in sin, as her father regularly assured us.
One February twilight Pat showed up like a long-lost one-man surprise party.
Screeched and skidded to the curb in a dusty copper Lincoln borrowed from his mom’s latest boyfriend. Early sixties Continental, low to the ground and half a block long, with suicide doors. He honked “shave and a haircut—two bits,” leapt out of the car, raced around to the passenger side and made a great show of mock chivalry holding the door for a young bleachblonde who emerged waving a fifth of gold tequila above her head. Emmalita and I stood on the brick front steps, both shaking our heads, only one of us smiling. Pat turned to me, opened his arms wide and cried out, “Cousin! How the hell are ya!”
Emmalita muttered something in Spanish and rolled her eyes in my direction.
I gave her a palms-up shrug.
We all got tremendously drunk shooting tequila at the second-hand kitchen table with the blue paint peeling off and the raw wood starting to show.
Pat and I took turns telling tales of our juvenile exploits as if they were Homeric epics. Needling each other and arguing over details until we ended up out front on the community lawn in a clumsy, laughable wrestling match.
“Boys.” Emmalita said, categorically.
The blonde turned out to be Pi-Delta-something. Pat had sugartalked her right off the steps of the sorority house, and at some point he slipped her out the back door and was balling her from behind, right on our little porch, bent over the wooden railing with a panoramic view of the parking lot—the February cold be damned.
It was Emmalita who opened the door and discovered them. She yanked it shut in a hurry. “What the hell!” she said. “He’s fucking her on the back porch!”
I tried to smile. “We did it there once, remember?” I slid my arms around her waist.
“It’s our porch!” she said, slamming me in the chest with both hands.
Emmalita stomped off to bed, the Pi-Delta blonde passed out on the couch, and Pat and I stayed up and finished off the tequila. The blurry dawn caught us still at the kitchen table, commiserating and confessing. Or was that just me? I vaguely remember reading outloud from On the Road and resolutely proclaiming, “I’m sick of teachers you have to call Doctor. They act like they can write a prescription for your whole fucking future. Here, kid, take two Aristotles and call me in the morning.”
“Ya worry too much,” Pat said. “Always did. Come look me up in Santa Barb this summer. Gonna get me a landscaping job, probably get you one too. Gonna build rock walls for rich ladies whose husbands ain’t home.” He shot me a big wink and laughed.
“Yeah, right,” I said. But the possibility took up residence in my mind and hibernated there the rest of the winter.
When spring came around I received a postcard advertising a bar and restaurant called The Palms, in the town of Carpinteria, just down the coast from Santa Barbara. On the front there was a blue-sky picture of a whitewashed building rimmed with green cornices and fronted by a row of towering palm trees. “The Palms” was painted in voluptuous green script arcing high across the white bricks. On the back, the address of the place, the canceled stamp, and in Pat’s half-schooled printing, “The weather is here, wish you were beautiful! Ha!”
I didn’t show the postcard to Emmalita. I tucked it between the pages of my brokenspine paperback of On The Road and reshelved the book in our “library” made of salvaged boards and stolen milk crates.
According to legend, Neal Cassady sent an eighteen-page, sixteen-thousand-word letter to Kerouac which transformed his writing forever. What I got was a nine-word postcard with no return address.
Still, I considered it an invitation of sorts—and a map.
It was late April and late Thursday night, and I had everything except my toothbrush in the new backpack. Two changes of clothes, three harmonicas, two Kerouacs, one Kesey, my old paperback dictionary, two hundred bucks rolled up in a sock, the postcard from Pat, and my reporter’s notebook with room for a few more words. I promised myself they would be words of change and becoming, not the cautious preparation of academia. I leaned the backpack against the wall next to the front door—bright orange nylon, shiny aluminum frame, army surplus mummy bag lashed on, and I told Emmalita, “I want to be on that onramp with my thumb out no later than seven in the morning to catch those business guys headed for San Francisco.”
She’d been in the bathroom almost an hour, showering and getting ready for bed. She came into the living room wearing the white full slip that always knocked me out. Nothing underneath. Long black hair dripping wet. “Baby, it’s a twenty minute walk to the freeway,” she said, “even more with that heavy thing on your back. You can sleep in and I’ll drive you in the vee-dub before I go to class.” She slinked across the carpet and her smile was dressed in red lipstick. She pushed me back on the sofa, pulled off my t-shirt and shorts and straddled me in the white slip. She shushed me when I opened my mouth to speak—and that was probably a good thing because I might have said I love you.
Emmalita didn’t indulge in that kind of talk. Traditional monogamous relationships were obsolete. She was a liberated Chicana who read Betty Friedan and Simone de Beauvoir and had marched with César Chávez. She dismissed Kerouac as one of the last great chauvinist pigs, but she listened when I read aloud on long car rides and in our bed on hot Stockton nights unfit for sleep or love. “You get so excited over these words,” she would say, like a new mother saying, “Aw, so cute.” But I would ignore that and talk about the blue echoes of Coltrane’s saxophone in the syncopated rhythms of Kerouac’s prose, and the way it spoke to me that he rejected button-down society to search for his own meaning across the map of America.
When I’d called my father to say that I was dropping out of school to go on the road, he’d offered me a job at the newspaper.
But when I told Emmalita, she understood. (Of course, I kept Pat Kelly’s name out of it.) We were sitting on the red brick stairs by the front door in the early evening, the bricks still warm from the afternoon heat. We brought out bottles of beer and watched the sun slide into the low skyline across the valley. I showed her the new summer catalog from the university, with the fake snapshots of students at internships, posing with stethoscopes, clipboards and briefcases like children playing dressup. I pointed and jabbed at the pictures and said, “That’s not me. That’s not me. That’s not me either. I’m not in there.”
Emmalita nodded and took a long sip of beer. She didn’t try to talk me out of it or lecture me like a parent. “Go,” she said, still looking out across the rooftops. “I could never forgive myself if you don’t. And after graduation I’ll be leaving to law school who knows where.” She picked at the bottle’s label with a fingernail. “We’re young. We each have our own dreams.”
We didn’t want to live our parents’ lives, tangled forever in regret and resentment. We agreed they were childish, and it was a satisfying irony that we were so adult in our acceptance of individual freedom. She even promised to store my records and books—including my stack of rare blues albums and the first edition Hemingway I’d found at a yard sale.
The day I left, I woke up in the near-dark, alone in bed, with the the feeling that I was already late. I found Emmalita at the kitchen stove frying chorizo and eggs, still in the white slip. She looked at me sweetly over her shoulder. “Your favorite,” she said.
“We don’t have time for breakfast,” I said, but she just turned back to the pan and stirred with the flat wooden spoon. The smell of chorizo rose in steam.
“You know he never found it,” she said. “He drank himself to death. All that going and going and he never found the meaning of anything.”
I sat down at the kitchen table and studied her. So beautiful and smart and surehearted, so luminous of purpose. That was the word I’d written in the notebook, watching her the first day of Econ 101, already pestering the professor with feminist critiques. Luminous. Shedding light. Now I memorized the hair rolling down her back in black waves, her shoulders warmed to gold by the light of the one bare bulb in the ceiling, her shape moving under the slip like a liquid silhouette, the reflection of the lightbulb trembling in her eyes.
I still had to go.
It was eight-forty by the time we got to the freeway, and a rare spring fog had crawled in off the delta. The commuters were long gone and two bums had already taken positions up the onramp. Emmalita pulled over and left the engine running. She gripped the steering wheel and stared straight ahead while I maneuvered my pack out of the back seat. I walked around to her window. She rolled it down and turned her face to me. Her eyes were wet. I looked down at the ground and said, “Thanks for the ride.”
She said, “Will you even miss me?”
“Of course,” I said, and bent down to kiss her.
She reached out the window and slapped me so hard I saw floating spots. “Estúpido cabrón!” she said. “You will miss me. And when you come back, maybe I won’t be here. And if you don’t come back I will scratch all your records and burn your Old Man and The Sea. Pendejo!”
Her rear tires spit gravel as she sped away.
I trudged up the onramp past the two bums so as not to steal first position, which I knew would violate hitchhiker etiquette. At the time I knew that and little else about citizenship of the road. My older stepsister had started me young with daytrips thumbing around Lupoyoma County, but I had never ventured an overnight trip before.
Now I would trace one small piece of Kerouac’s map—if I could ever make it out of Stockton.
The fog was tentacled, the cold insidious. The bum in second position hunkered down on a bedroll in a tattered fatigue jacket. I stood and blew into my cupped hands. The first-position bum watched with gristled detachment. I use the word “bum” because “homeless” wasn’t established as the preferred euphemism in 1978. Drifter sounds too nefarious, hobo too archaic, wanderer too soft-focus. And these appeared to be respectable bums—not recreational or philosophically ambitious, not the dharma bums or wino savants of Kerouac, but respectable nonetheless. When I walked past, each of them offered a chin nod to acknowledge my good manners.
A car or sometimes two at a time came up the onramp every few minutes. It was not a steady stream. I stood shivering with my head bowed, shifting pebbles with the toe of my boot. Then a car would appear and the two bums and I would present ourselves, one-two-three, in rapid sequence. The bum in the first position wore a blue knit cap and was stooped and gray-stubbled. He held up his right hand as if measuring an inch between his thumb and forefinger to show that he only needed to go a mile or two. The bum on the bedroll was younger. He stood up and let his arm hang down with his hand below his hip, his thumb angled out but cooly indifferent. Then me, standing lock-kneed with my arm perpendicular to the road and my eager thumb almost quivering. I made eye contact with every driver, recalling my high school counselor’s interview advice.
A truck stopped and picked up the gray-stubbled bum. He nodded through the window as he rode past. The other bum picked up his bedroll and walked down to the old bum’s spot. He sat down, then looked up and waved me toward him. When I got there he said, “Where ya headed?”
“Santa Barb,” I said, trying to sound suitably traveled, “actually Carpinteria.”
“Headed down the coast myself,” he said, and took some time to look me over. I became hotly aware of my new orange pack, my brightly washed overalls and clean farm bureau workboots, my peachfuzz face and the girlish dark hair flowing down to my shoulders. Bangles. Yes, I wore bangles.
The bum said, “Wanna go together?”
I must have looked confused.
“Sometimes it’s better with two guys.”
“Oh.”
“People think it’s easier to be crazy alone.”
“Yeah.”
He put out his hand. “Name’s Terry.”
He wore a red bandana headband over unruly curls of rusty brown hair, and his unfinished beard reminded me of my grandmother’s windowsill cactus. He had dark squinting eyes and a handshake that read like a swim at your own risk sign. He said he’d been on the road for years. He’d never been outside North Carolina before the army, but he’d come back from Vietnam with a spiteful heroin habit to kick and a desire to see the country. “See what I was killing for,” he said.
Here was a piece of the America I thought I was looking for, the sad and true but unbroken America you couldn’t find in a dorm room or a library stall.
Or in a rickety apartment playing house with a future lawyer. Or the dusty office of a podunk newspaper. I now felt that I was officially on the road although I hadn’t managed a single ride. I could see myself on a barstool at The Palms, regaling Pat Kelly with exaggerated tales of my tremendous adventures with Terry the All-American bum.
The sun burned through the fog, then started in on us. Terry had a pair of aviator sunglasses that might’ve been stolen off Douglas MacArthur himself. Dark green lenses and gold wire frames with the looping ear stem. We finally got a ride from a freckled high school kid in a 65 Ford Econoline van. Terry sat shotgun with one elbow out the window, with his windblown hair and red bandana, and the reflections of the highway speeding across those sunglasses. I climbed in the back and sat on a lumpy mattress covered with a ratty brown bedspread. We rumbled west across the great San Joaquin Valley, straight at the sun.
I dipped into the money sock, handed the kid a ten, and Terry convinced him to let us sleep in the van, parked on the street outside his parents’ house in a monochromatic subdivision. But the parents got wise and we were rousted out around dawn, the panicky dad pounding on the side doors until we emerged, then threatening us down the street with a golf club. Nine-iron I think.
We crossed the southern arm of the grayspackled San Francisco Bay that afternoon on a long low bridge like a highway upon the water. Terry had a Vietnam buddy who owned a bar in San Carlos. The bar was a surly looking place surrounded by chopped and raked Harley Davidsons. Terry marched through the swinging door like no big deal and I fell in warily behind him. Every head in the bar swiveled to stare us down.
Terry’s buddy was a stone outcrop of a man called Sergeant Oliver. Dark straight hair down to his belt, wild thick beard and a big bearish laugh. “You better stick to yourselves,” he said to Terry. “My regulars don’t take to outsiders, and I got no time to save your ass. Again.” He laughed and confined us to the storeroom with a deck of cards and a bottle of house bourbon.
But, by his own admission, Terry was not a reliable follower of orders. And I was following him. We slipped out when Sergeant Oliver was busy, and Terry made fast friends of the whole crowd by sharing the bourbon and losing at pool. I played harmonica along with Free Bird on the jukebox, and after we helped close up the place Sergeant Oliver locked us in, and we slept like ragged children, curled up in the red leather tuck-n-roll booths.
The next day we got sidetracked and stranded in the farming town of Watsonville, where it rained like hell was water.
But Terry somehow knew where to hop the fence at the city yard, and we clambered over and sought shelter in huge sections of concrete culvert. There were dozens of these cylinders big as railroad boxcars, laid out in tidy rows waiting for some major construction project. I followed Terry and we ducked into one. Inside it was all cozy echoes, outside nothing but the hiss and patter of rain… until we heard the low snarl of the watchdog. Then it was a cartoon scramble back over the fence and a half-mile jog to an all-night laundromat, where we spent the shivering night soaked through and nodding off in yellow plastic chairs shaped like your butt.
I relished every minute of these complications and travails, and I harbored the furtive belief that some holy chemistry of fate was involved in appointing Terry the All American bum as the patron saint of my road.
In Big Sur, now four days gone from Stockton, we chanced on a woodsy encampment beside the highway, where nearly thirty fellow travelers were set up. This confluence of meandering souls seemed to call for a suitable commemoration. A tiny shack of a store stood across the highway, someone’s weatherbeat hat was passed around camp like a collection plate, and the fire, whiskey and talk burned late into the night. I pulled out a harp and jammed blues with a sunburnt old picker from Show Low, Arizona. Terry met a frizzy haired hippie woman headed up to Mendocino to make pottery, and I believe he spent some time in her sleeping bag. I scribbled the definition of confluence in my notebook. Where two or more streams or paths become one.
I don’t remember lying down to sleep. I do remember waking up, alone, the contents of my pack dumped on the ground, the money sock stretched out, empty. There’s enough regret and disillusion already built into a hangover without robbery in the bargain. I never saw Terry again, but I found the aviator sunglasses in a pocket of my backpack—a weak apology I concluded, and I tucked them away in the pouch of my overalls.
Blood-eyed and down to seventeen dollars, I nursed my pride in the woods of Big Sur all day, then slept troubled under a three-quarter moon.
There was a phone booth next to the little store, and in the morning I sat on the nearby lawn and eavesdropped on the desperate phone calls of a few weary travelers.
I got to thinking maybe Emmalita would wire me some money back in Monterey. It would mean surrender, but I could catch a Greyhound and drowse in her arms that very evening. I rehearsed the entire call in my head, playing both parts—her finger-wagging satisfaction and my redface shame.
I thought of the postcard from Pat Kelly with the sunlight flashing off the bricks of The Palms. I’d told Terry I had family in Carpinteria who were expecting me. But Pat was not expecting me. I hadn’t seen him but once in the past year. I had nothing to go on but that sunny photo and my own restlessness.
I thought of my father. “A pipe dream,” he had said. He’d offered me advice as well as a job. “Son, you won’t learn how to write on the side of the goddamn road.”
“I might learn what to write,” I said.
But my father was an editor, not a writer. Words were either essential or expendable to him, and always in relation to a specific and utilitarian purpose—science, commerce, the news. In his mind, fiction was a toy made of words. He’d scoffed and shook his head. “Might as well stick that thumb up your ass.”
But now I got up off the ground and pulled out the MacArthur sunglasses and put them on like a coat of armor. I strapped on the dusty orange backpack, walked over to the southbound lane and stuck my thumb out for the next car. My hand low against my hip.
Two days further down the coast, I had a ride that would have taken me all the way to Carpinteria, but I got out five miles short in the tiny town of Summerland—because Kerouac had once spent the night on the beach there.
I hunted up a liquor store and spent my last folding money on a half-pint of Southern Comfort and a family-size can of pork and beans.
I walked to the beach in the Summerland twilight. I made a driftwood fire, ate the beans out of the can with my pocket knife, and sipped the sweet liquor like sacrament. There is a certain bliss contained in the moment when one owns a full belly and a full bottle at the same time, even if one also owns an empty wallet. I was bleary and beat and alone without a dollar to dream on, and yet I had the tremendous sense that all was right. In that hour, on that beach, on the map of my heart, I crossed paths with Kerouac.
I thought of that word, tremendous, because it appears so often in On the Road, and in so many contexts that you begin to think he was spraying it around as decoration, unconscious of its specific meaning. I got out the paperback dictionary and read the definition by the firelight: “very great in amount, scale, or intensity.” The root was the Latin word for tremble, and it made me think that Kerouac knew exactly what he was doing, consciously or not. He wanted to suffuse his prose with that deep underlying sensitivity. To bequeath his own shudder at the amount, scale and intensity of America, the world and life. He wanted us to ingest that feeling, swallow it, absorb it and sweat it out the way he had, if only for one night on one beach.
I copied the definition of tremendous onto the final page of the notebook. I sucked Southern Comfort and spoke stumbling poetry to the darkening sky—for the writing gods and for Kerouac, for the full moon, for hope, for words. I stripped to my paisley boxers and danced a silly jig around the fire, and I raised my bottle in a toast to Pat Kelly. Months before, in that drunken dawn at the kitchen table, I was reading from On the Road and he stopped me when I said, “they danced down the streets like dingledodies.”
He laughed and shook his head and pounded the table. He said, “Cousin, what in the blue fuck is a dingledodie?”
I tried to explain that Kerouac invented the word. I said, “you have to get the meaning from the story and the rhythm and the way the word sounds in your heart.”
There was a pause during which Pat carefully refilled my shot glass with tequila. Then he stood up and stretched his upper body across the table so he was leaning on his elbows and his face was close and out of focus.
He said, “What I want to know is, do you say more with all these words, or just talk more?”
I toasted him now from the sands of Summerland—and I toasted my father and Emmalita and Kerouac and Terry the All American bum. Because words do make men. And women and toys and news and futures and lovers and wars, every question, every answer, the whole damn thing including the part we name our soul—the part that’s invisible to our physical senses yet we feel it tremble at life. In the end what is the trembling made of, if not words?
I found my overalls rumpled on the sand. I slipped the postcard out of my pocket and looked at it with the firelight bouncing off the glossy photo. I turned it over and laughed at the joke one more time, then I tossed it into the flames and watched it catch fire. I pulled Terry’s sunglasses out and threw them in as well. I ran to the backpack and grabbed the reporter’s notebook. Page after page, word after word, I tore out and crumpled, and I offered them all to the giddy flames.
I slept straight through to the late morning sun like a man sated by exhaustion. I got up and walked into the ocean. All the sweat and dirt and doubt of the road rafted away on the foam. I finally caught a ride into Carpinteria that afternoon, Friday, a full week after I tromped up that first onramp in the fog of Stockton.
I found The Palms, and I found Pat there in a cramped little bar off the restaurant. Maybe six stools at the counter and a few tables in the corner, every spot filled with drinking, shouting, haranguing men. It was a workingman’s bar.
They were carpenters, painters, bricklayers and plumbers, and there was not a suit among them or a doubtful word.
Down the bar there was some kind of contest taking place and a huddle of men chanted and slammed their fists on the bar in unison. Of course Pat was in the middle of the commotion. I fished the last coins out of my pocket, ordered a draft and watched him in the barback mirror.
He’d changed somehow. He was shirtless, that wasn’t new. And he sat at the bar like a rooster, still chin up and shoulders back. But the hat was new—a dented straw cowboy hat the color of September hills, the brim rolled up a little on the sides, dirt blonde pony tail hanging out in the back. And the mustache was new—a trimmed biker-style fu manchu that added a thousand miles to his face. But he hadn’t changed that much. The matronly woman who brought my beer told me he was eating raw cayenne peppers on a bet, with two more to go before winning the pile of money laid out in front of him. “Boys.” she said, and shook her head.
Pat drained his mug in one swig and wiped his mouth with the back of a sun-dark arm. He looked down at the waxy red peppers in the clear glass snack bowl. He drew a deep breath and raised his right hand to the edge of the bowl. Then he spotted me in the mirror.
“Well, I’ll be damned!” he hollered out, and he turned on his stool with a holy goof grin and stood up and cried out to the whole bar, “It’s my little cousin!” He made it sound like an extra payday, and some of the men belly-laughed and cheered and lifted their drinks. He held up a finger that said just a second, turned back to the bar, and picked up both of the remaining peppers. He held them up for all to see and the crowd roared approval. Then he dropped the red peppers daintily into his upturned mouth.
His shoulders tensed. He worked his jaw. His forehead beaded sweat. His eyes bulged and watered and his open hand pounded the bar. He chewed and swallowed and gagged so his cheeks filled up like Dizzy Gillespie trumpeting high C. He gulped down someone else’s beer and then bowed his head in concentration—or possibly a sinner’s prayer. The crowd hushed. He raised his head, swept up all the money with one hand, punched at heaven and hollered, “Bartender! Drinks all around!” A tremendous cheer erupted like the end of a long bloody war.
I shouted and roared and drank deeply. I exulted.
Note: Roy turned me on to the great beatnit writers. we did a few hitchiking trips as well.
I was at a friend’s house that winter night when John Lennon was killed.
We were watching Monday Night Football and drinking beer. Howard Cosell announced the news as if the quarterback had been sacked on third down — “John Lennon, outside his home, shot twice in the back… dead on arrival.” It was December 8, 1980, my twenty-third birthday.
Ten years before, in December of 1970, Lennon’s debut solo album was released. It was called John Lennon/Plastic Ono Band, and it changed my life. That claim now sounds strange, even to me — grandiose, hyperbolic, almost obsessive, especially considering the who and why of his death. Still, it feels true.
Many of us feel a deep emotional connection to the music we love, and sometimes to the artists who made it. I’ve found many kindred spirits in many different styles of music. I’ve found solace, inspiration and comfort for the heart, reveled in excellence, danced and shouted in catharsis, wondered at cleverness. I wouldn’t say any of it changed my life in a profound way.
But John Lennon’s Plastic Ono Band album did change my life, at least my view of life, and largely because of one song in particular.
I didn’t have much of a sound system then—a pale green plastic record player that was made by Westinghouse and folded up like a suitcase. I had scotch-taped a penny to the turntable arm to plow through any scratches that might skip the needle. It was another year or so before I saved up enough for the cheapest Sharp component stereo system in the Spiegel catalog.
I remember putting the needle down at the beginning of this brand new John Lennon record, then rushing to lie flat on my back on the big oval corded rug, my head on a pillow, the record player on an old TV tray behind me.
I closed my eyes and heard the sound of bells.
That’s how the first track on the album begins, a succession of church bells that warble and slur on top of a scratchy background hum as if the bells were recorded from a faint radio broadcast and then slowed down. It makes for a portentous, funereal effect, an appropriate lead-in to the song, which is simply called Mother, and deals with Lennon’s feelings of abandonment by both of his biological parents.
Mother you had me, but I never had you
I wanted you, you didn’t want me
So I… I just gotta tell you… goodbye
Like the opening pages teach us how to read the voice of a great, original novel, this first song sets a pattern that is echoed throughout the album, a pattern of deceptively simple lyrics that are rarely ambiguous, unusually direct, and at times uncomfortably, even brutally honest and revealing. And this is matched with sparse but dramatic musical arrangements, with surprisingly light production touches from the notoriously controlling Phil Spector.
Throughout the album, Lennon’s voice and guitar or piano is usually accompanied only by Ringo Starr on drums and Klaus Voormann on electric bass. There are no background singers, only the occasional artful out-of-phase doubling of Lennon’s own voice, singing in unison rather than harmony. The tone of his voice ranges from clear and airy to harsh and scratched raw, but he always controls it perfectly to convey the emotional content of the song. It never sounds affected, and he never indulges in showy vibrato or any other unwarranted vocal gymnastics. There’s a purity there that seems quite rare today.
Mother ends with multiple repetitions of the couplet, “Mama don’t go, Daddy come home,” which is first voiced as a mournful plea, but Lennon dials up the intensity with each repetition, eventually building to a desperate gut-wrenching scream that fades out and leaves an aftertaste of sorrow, but also a sense of a past reckoned with, a troublesome demon purged.
This was not Beatle John as we had previously known him, certainly not the cheeky, wisecracking John from Hard Day’s Night.
Even before the Fab Four cleared the mop-top phase of their career, Lennon was easy to identify as the troubled Beatle, with edgy introspective songs like I’m a Loser, and Help!, but the songs on Plastic Ono Band took this personal, confessional style to a whole new level that hinted at the realm of psychoanalysis.
At the time of these recording sessions, Lennon had recently undergone primal scream therapy with its originator, Arthur Janov, who taught that many psychological issues were tied to childhood trauma and could be resolved through re-experiencing and fully expressing the trauma in guided therapy sessions.
Hence, the alternative title for the album could have been There Will be Screaming. And there was. Not only in the opening track, Mother, but also memorably in the song, Well Well Well. That song’s verses suggest a certain cynicism about the prospect of social change, then lead to a chorus that simply repeats the words, “well, well, well, oh well,” but goes even further than the closing refrain of Mother, to a place where Lennon’s scream finally becomes something close to retching. It borders on disturbing, which I think was entirely intentional.
With Lennon’s best scratchy, accusatory voice and his stuttering fuzzy guitar sounding slightly out of tune, and in places out of time, plus Ringo’s dogged minimalist drumming and Voormann’s insistent bass, Well Well Well is nearly ragged and rollicking enough to throw into a proto-punk retrospective, if anything labeled proto-punk had been played by a thoughtful, sensitive, tortured musical genius, that is.
But there is more to this album than the screaming and casting out of demons. Again, as in a good novel, there is balance and contrast and an emotional rhythm. There is the bitterness of disillusion on I Found Out, and the tender self-care of Hold On; the demolition of traditional life models in Working Class Hero, and the childlike innocence of Love; the sneering irony of nostalgia in Remember, and the naked vulnerability of Look at Me.
Still, you might be thinking, so what, it’s a good album, maybe a great album, but how is that life-changing?
We have to go back to that thirteen-year-old boy on the corded rug. He knew nothing of Arthur Janov or primal scream therapy. He didn’t have the capacity (or the inclination) to break down the instrumentation or deconstruct the lyrics. He didn’t know much about Lennon’s personal battles. He was just a boy on the cusp of adolescence, a boy with his own struggles, a boy newly discovering his own doubts and disillusions.
He lay on the floor and closed his eyes and heard bells.
Isn’t it a shame that in today’s cluttered world we seem to have forgotten how to listen to music with that level of attention — with our mouths (and our typing fingers) shut down and our ears and hearts all the way open?
I see that boy now in my memory, and I wonder in what way I am still that person. Is that old saying even true that a person’s entire inventory of cells is somehow swapped out, thrown into the vast molecular recycling bin every seven years? What is it then, that somehow congeals and holds together a certain pattern of energy that is the individual you or me, even as we decay toward our inevitable disintegration?
I imagine my experience, lying on the floor in front of the plastic Westinghouse phonograph, was one of empathy and a sense of insight, a feeling of being trusted with someone’s most difficult truths. I knew Lennon was rich and talented and adored, but I wasn’t so aware that he had doubts and conflicts and scars and regrets and a few scores to settle, like everyone else. And there must have been an adolescent thrill in hearing Lennon break rules and cross lines that popular music didn’t usually cross, laying himself so bare, calling out critics and cultural authority.
Then came the song I claim changed my life. The title is as simple and direct as the rest of the titles on the album. Just one word.
GOD
God is a concept by which we measure our pain. I’ll say it again.
God is a concept by which we measure our pain.
I don’t believe in magic. I don’t believe in I-Ching.
I don’t believe in Bible. I don’t believe in Tarot.
I don’t believe in Hitler. I don’t believe in Jesus.
I don’t believe in Kennedy. I don’t believe in Buddha.
I don’t believe in Mantra. I don’t believe in Gita.
I don’t believe in Yoga. I don’t believe in Kings.
I don’t believe in Elvis. I don’t believe in Zimmerman.
I don’t believe in Beatles. I just believe in me.
Yoko and me, and that’s reality.
The dream is over, what can i say.
The dream is over, yesterday
I was the dreamweaver, but now I’m reborn.
I was the walrus, but now I’m John.
And so dear friends, you’ll just have to carry on.
The dream is over
To follow through with my comparison to a novel, every great novel comes to some kind of climax, some resolution of the conflicts embodied in its story. God is the climactic song that brings to a head all the pain, anger and realization of the rest of the album. It rejects the authority of received mythology, including the mythology of Beatle John.
To the boy on the rug, already a closet agnostic at thirteen, this was a loud shout of validation, and not just because of the questioning of religion.
In an even larger sense, the song offers broad affirmation and permission to all those who would throw off the shackles and blinders of culture and think for themselves, love for themselves, be themselves in a world that is always pressing on you to conform, to fit into one mold or another. And it offers a glimpse of moving past all of that into a clarified, illuminated future. The dream is over. Believe in yourself. Carry on. This faith in your own heart can be a refuge, a home you can return to when you get lost. Having that can change your life.
The shock of that December night has never quite faded. Like losing a family member before their time, there’s a sting to every memory of the man, every note of his music. Like the charged taste of metal when you test a battery with your tongue, not a lightning bolt anymore but still bitter and hard. John lost his future. His family lost their future with him. And we lost our future of connecting to him, of recognizing our growing, struggling selves in his music and his honesty about his own growing, struggling self.
The music lives on, as they say. And maybe somewhere in the world today there’s a doubtful pimply kid clicking around online who will stumble into a YouTube post of Plastic Ono Band, and he’ll stuff his earbuds in and push play.
Muhammad Ali would have turned 80 years old today, January 17, 2022. It also happens to be Martin Luther King Jr Day, in a year—an era, really—that all too clearly echoes the elevated tensions that inflamed the unrest of the turbulent Sixties.
How frustrating and disappointing that we as a society seem to have grown so little in all these years. But how inspiring to remember how both these men rose above their times and how each of them, in their own way, shook up the world.
Ali passed away, in June of 2016. Looking back now, that location in time seems to be right on the cusp of this current era, straddling the border, with one foot in the calm before the storm and one foot in the hurricane itself. Name the storm Division. Or Polarization. Or Culture War. Blame it on Inequality, Moral Decay or White Supremacy. Or Patriarchy, Corporatism or Globalism. We find ourselves in what feels like an impasse, a bumper to bumper traffic jam on the highway of cultural development.
At the time of Ali’s death, I put fingers to keyboard in an attempt to clarify why the man’s life and death felt so meaningful to me (and perhaps to others). Today I’m revisiting those reflections below…
There were so many sides to the man. So many people today are expressing their own impressions of this transcendent figure. So many different words are showing up in articles and posts. Of course, people often speak first of his athletic skill. The New Yorker said he had “physical wit.” A clever phrase but maybe still an understatement. He was a physical genius who, in his prime, raised heavyweight boxing up to the level of art. Others speak of Ali’s bravery, confidence, humor, grace, kindness.
To me, Ali seemed to always be coming back from defeat.
If I was ever aware of him as Cassius Clay, I don’t remember. I was only nine years old when he refused to serve in Vietnam, and my earliest memories of him are about the controversy that followed and his unjust exile from the career and status he had rightfully earned with his fists.
Another word we’re seeing today is “sacrifice,” and few other public figures in our time have proved their beliefs by sacrificing as much as Ali. He had all the riches and power that America had to offer him. He was “King of the World,” as he so brashly proclaimed. Yet he was willing to give it all up—to go to prison if necessary—in accordance with his conscience. It’s something he gave us all to think about.
Which requires more bravery—to follow the crowd to battle, or to stand alone and question the purpose of war?
When he came back, I listened to his first fight against Jerry Quarry on my bed with my ear pressed against a handheld transistor radio. When he lost to Joe Frazier, I watched in the local theatre. When he rope-a-doped George Foreman to finally regain the championship in 1974, I was sixteen, listening in the driveway on the radio in my first car, a 1962 Ford Fairlane.
Of course, he lost again. And he came back again. In the ring and in the world. Against younger boxers, against judgmental society and against cruel disease. He became possibly the most well known, and certainly one of the most admired men in the world. The word “icon” gets thrown around too casually these days. Ali was the real deal. To quote the dictionary, “a person regarded as a representative symbol of something.”
Yes, a representative symbol of those many words showing up repeatedly today: skill, grace, wit, kindness and the rest. But each of those words by itself seems to be reaching for a more complete summary. There must be something about the man that encompasses yet exceeds all those words, such that, even though we might not agree with his every word or action, we see that something about him represents the best in us.
I think what finally seals Ali’s indelible power in our hearts, what we see in him that we wish for ourselves, what he truly symbolizes—is the triumph of courage and principle over injustice. That is what I see in Muhammad Ali’s life that I hope lives somewhere within my own heart, and within the heart of our society in general.
And then there is my favorite Ali quote—and I’m sure I won’t be the only one to recall this today because it so captures Ali’s wit, charm and fierce sense of self. In one of their many post-fight interviews, Howard Cosell remarked on Ali’s bravado. “You’re being extremely truculent,” he said. And Ali came back without missing a half-beat: “Whatever truculent means, if that’s good, I’m that.”
Hitting a baseball is the hardest thing to do in sport. That is the accepted and acknowledged barroom and living room wisdom.
Regular Joe down at the end of the bar says, “Look man, you got a round ball that’s three inches wide, it’s closing on you almost a hundred miles an hour and you’re supposed to hit it with a stick that’s even smaller around than the ball. That’s why you’re a freakin allstar if you can pull it off just three out of every ten times.”
“Damn straight,” you holler and raise your glass. “Hardest thing to do in all of sport.”
It’s never exactly clear what things are being compared, but nonetheless it’s an article of faith that hitting a baseball is the most difficult among said unsaid things.
But is it?
Cut to my living room just a few Sundays ago, when my father, Roy Sr, sometimes referred to as Old Roy, or more delicately as Roy 1.0, joined me to watch the Giants game and bask in each other’s considerable baseball expertise. Fortunately, on this particular Sunday, Mrs D was visiting relatives somewhere across the continent, thus the living room was temporarily an eye-roll-free zone vis-a-vis the running of our expert mouths.
Friendly beverages were involved, the Giants were losing in the late innings, and soon talk turned to our superior understanding of the game of baseball compared to the hopeless, flailing, trend-following, stat-blind, blockheaded ignorance of, you know, pretty much everyone ever professionally employed at the highest levels of the sport. Such is the cross borne by every long-suffering couchbound sports fan.
So, after yet another Giant struck out to end an inning with the bases loaded, one of us sighed in resignation and threw the old bromide out there, “Well, like they say, it’s the hardest thing to do in sport.”
And of course we went through the whole litany: three inches wide, rounded bat, hundred miles an hour, seven out of ten failure rate.
Incidentally, it’s not just barroom—or living room—wisdom. Even the venerated Popular Science has published an article claiming, “A unique blend of physics and neuroscience makes the skill astronomically difficult.” (www.popsci.com/story/science/why-is-hitting-a-baseball-so-hard/?)
So, don’t roll your eyes at the two Roys just yet.
But what are we really talking about here? What, in fact, are the aforementioned ‘things’ we might fairly compare to hitting a baseball? Let’s define them. Let’s say, for instance, completing a pass in the NFL. Or let’s say, making a basket in the NBA. Or hitting the fairway in professional golf. These are all discrete, repeatable accomplishments required on a regular basis for a top-level player to be deemed successful in their respective sport.
And I suddenly got a clear look at the fly in the logic—or the flaw in the ointment, whatever. I realized this dog couldn’t hunt. Or, more importantly, count. You see, when you throw a pass in the NFL, that’s one throw, one single attempt, with one positive or negative result: complete or incomplete. When you take a shot in the NBA, it’s one shot, make or miss. In golf, you hit one shot from the tee, your ball either lands in the fairway (or on the green) or it doesn’t. These are all straightforward one-for-one records of accountability.
And it’s true, by all the accepted measurements these skills are less difficult on average than hitting a baseball. Top passers have completion rates above 60%. Top shooters make baskets around 50% of the time. Top golfers hit the fairway on up to 70% of their drives.
However, in baseball, when we say someone’s an allstar for hitting the ball 30% of the time, we’re not talking about a one-for-one relationship.
We’re talking about hits per ‘at-bat.’ And in any single at-bat a player could see multiple pitches and make an unknown number of swings. Plus, the 30% only counts the number of times a batter hits ‘safely.’ When the batter hits the ball but makes an out, it’s not counted. Even though the batter has, in fact, achieved the illustrious feat of hitting the baseball, that achievement is ignored in the calculation of their standard batting average.
That doesn’t seem fair.
When a quarterback completes a third-down pass but it’s short of the first down, he’s still credited with a completion. If the forward dunks the ball at the buzzer but the team loses by one, the basket still counts. When a golfer hits the fairway but bogies the hole, the record book will still say he hit the fairway.
So I says to Old Roy, “What if you counted every single time the batter puts the ball in play? After all, isn’t that the physical act of hitting the baseball, which is what we’re supposedly measuring?”
He goes, “Yeah, that only makes sense. Even if you’re out, you’ve already done the job, you’ve hit the baseball. Why shouldn’t that count?” And he takes a drink.
I’m wondering, jeez, did we just out-think the entire history of barroom pundits? Because, if you count every time the batter actually puts the ball in play, there is no way that hitting a baseball is the hardest thing to do in all of sport. No way. Right?
Now I’m thinking, yes, these two Sunday blabbermouths in their recliners just completely overturned conventional wisdom. Over cocktails during the seventh inning stretch we had apparently debunked one of the greatest and oldest truisms in baseball lore. If only the skeptical Mrs D were here to appreciate our brilliant insight! I mean, I better write a nice wordy essay to impress my friends and anyone else who will listen.
Couple days later, I decide to hunt down the numbers that would prove the case.
First, I go to baseball-reference.com and look up the 2022 National League Batting Champion, Jeff McNeil of the New York Mets. In 589 plate appearances, McNeil had 538 official at-bats (subtracting walks, hit by pitch, sacrifices, reaching base on a fielding error). In those 533 at-bats, his 174 hits yield a .326 average or a 33% success rate. But to calculate a more accurate success rate, let’s include all the times he put the ball in play but made an out. To get that figure, simply subtract his total strikeouts from total at-bats, and you’d pretty much have it.
In McNeil’s case that’s 533 at-bats minus 61 strikeouts = 472 balls in play. That is approximately an 89% success rate. In 89% of his at-bats, McNeil hit the baseball, supposedly the hardest thing to do in all of sport. WTF!?
But then it suddenly dawned on me, Oh shit! Each swing is an attempt. Not each at-bat. Each swing. To truly measure the difficulty of hitting a baseball against those other sports skills, you need to calculate swings vs balls in play. In this discussion, nothing else really matters.
I won’t begin to list all the crazy anal-retentive baseball stats you can find online nowadays. If you looked long enough you could probably learn how often your favorite shortstop scratches his balls during the ninth inning of Tuesday night games in Oracle Park. And yet, I scoured more than a dozen sites before I found something close to what I was looking for, and not surprisingly I found it at billjamesonline.com
Here’s a simple breakdown of swings vs balls in play for McNeil’s 2022 season. 1110 swings, 477 balls in play. What about other high caliber players? That guy Aaron Judge had a pretty good year in 2022, didn’t he? 1240 swings, 400 balls in play (of which quite a few of them went over the fence). Luis Arraez led the American League in batting: 1034 swings, 507 balls in play. World Series Champion and perennial allstar Jose Altuve, 1022 swings, 441 balls in play. Among my beloved Giants, Brandon Crawford, 872 swings, 313 balls in play. And among the hated (although in case highly respected) Dodgers, Mookie Betts, 1072 swings, 472 balls in play.
The best hitters succeed at hitting the baseball on only 30-50% of their attempts.
The barroom pundits were right after all, although for the wrong reasons.
It’s very hard to hit a baseball. You might call it the hardest thing to do in sports.
Old Roy and Marginally Younger Roy are nearly as full of it as Mrs D’s eye rolls would suggest. We will now return to our recliners and cocktails, thank you.
Thank you for reading Fire and Dreams. This post is public—feel free to share!
Roy introduced me to Baseball, and American Football. We saw a lot of basebal games on TV at the Euclid House as well as SNL in its prime time seasons. as well as 70’s classic TV shows.
THE YEAR OF TWELVE SONGS is my latest music project. Some of you got a preview recently, with an all-acoustic version of a song called Finish Strong. Now I’m sharing a new version with added instruments and my efforts at sound production. Plus some backstory and something sort like old-fashioned liner notes (remember those?). I plan to do this with a different song every month and hopefully learn a lot in the process. Check it out with the link below and let me know what you think.
ANNOYING CREATURES THAT UNDERSTAY THEIR WELCOME performed by The Pimpleton Procrasturbation Ensemble.
ANNOYING CREATURES THAT UNDERSTAY THEIR WELCOME, Op. 139, No. 6
THE PIMPLETON PROCRASTURBATION ENSEMBLE performs ANNOYING CREATURES THAT UNDERSTAY THEIR WELCOME, Op. 139, No. 6, by GARY LLOYD NOLAND (October 19th, 2022). For more information on the composer, pleas
UNBEARDED AVATAR-GOYLES, Op. 131, No. 5, performed by The Pimpleton Procrasturbation Ensemble. Enjoy!
permafrost My TEEMING IMPERMAFROST, Op. 127, No. 6, performed by The Pimpleton Procrasturbation Ensemble.
ANNOYING CREATURES THAT UNDERSTAY THEIR WELCOME performed by The Pimpleton Procrasturbation Ensemble.
ANNOYING CREATURES THAT UNDERSTAY THEIR WELCOME, Op. 139, No. 6
THE PIMPLETON PROCRASTURBATION ENSEMBLE performs ANNOYING CREATURES THAT UNDERSTAY THEIR WELCOME, Op. 139, No. 6, by GARY LLOYD NOLAND (October 19th, 2022).
My WHIPPING THE NIGHT ORGASTIC performed by The Pimpleton Procrasturbation Ensemble.
https://soundcloud.com/…/sets/when-xmas-ornaments-go-rogue I made a pact with my Facebook friend, composer Allan Segall, to exchange titles for pieces. I provided him with a title and a new piece of his emerged within a day or two. With all the projects I have been involved in lately, it took me several months to fulfill my end of the bargain. I finally asked him for a title a couple weeks ago (on January 9th, 2024, to be precise) and he provided me with the title of this brand new piece (completed on January 23rd, 2024), which I am happy to include amongst a growing portfolio of holiday pieces. The Pimpleton Procrasturbation Ensemble (consisting of the composer and his five anagrammatic alter egos) performs WHEN XMAS ORNAMENTS GO ROGUE.
My latest composition: THERE’S NO THERE WHERE? performed by The Pimpleton Procrasturbation Ensemble (January 23rd, 2023): https://soundcloud.com/gary…/sets/theres-no-there-whereeres-no-there-where The Pimpleton Procrasturbation Ensemble performs THERE’S NO THERE WHERE?
This is my first guest blog piece. I got to know Douglas’s work through Fan Story. I will be posting from time to time other guest posts from my Fan Story, Writing Com, and other writing groups. I hope you enjoy his work as much as I have.
Bio
Douglas Richard Colthurst was born in 1955 on a farm in Cabery, a tiny town in central Illinois. Received a Bachelor’s in Biology from the University of Illinois at Urban-Champaign and a Doctorate in Dentistry from the University of Illinois at Chicago (I think?). published dentist with prison dentistry experience published poet and amateur painter novice wine sommelier comic book collector bilingual in English and German amazing father – bowler, golfer, chef motorcycle license, and Harley owner
Victor Touche ? A 59-plus eight-year imposition on this planet. Who…. always wanted to slow down, explore the other side of his brain, and amount to something other than a paycheck. Of course, the other side of me would argue paycheck first you dolt, there’s time for the other later. Ah well, as Jackson Browne once said, something like I wake up every day to the great compromise. I have a lovely daughter of 21. (senior college, (oh me, oh my). Which fulfilled and completed my life to a degree I shall be ever grateful for. As all of you parents know. Love to cook. Wine. Wine Cellar at last. Harley Davidson. Rebel. Always did resent authority.
Setting the scene.
The Walk
hate standing in lines. But there I was, happy as a clam, standing in line; for a fake diploma. (The real one came later by mail.) But it did represent the culmination of four years of pure hell, dental school. Some people didn’t seem to mind it. But for most of us, it was a long grind. One must study continuously. This is interrupted only by eating, sleeping, and lab work. Seriously. I am not inviting sympathy. One’s time is simply occupied until graduation. I finally learned of shortcuts that many students knew, but it was too late to use them. And I don’t think I would have anyway, but that is for another story; my dental school experiences.
Since there was no time to assess my coming work situation, I graduated needing a job, housing, and money. My parents still lived in a rural town in central Illinois. They had seen an advertisement in the local paper for a dentist at Pontiac Maximum Security Prison. What? As in, what was I thinking? I know. I thought the same thing. I mean the same thing. But I could earn a little money, live with my parents, and buy a car. You know, start living.
I interviewed and unfortunately got the job. Now, this was done by an “administrative company,” responsible for hiring all the healthcare professionals for Illinois’ prisons. This is pertinent because before, each dentist contracted with the state. This may not seem significant. It didn’t happen to me either. But, oh boy, was it ever. The only thing that matters in prison is power. Yeah, to be sure, the prisoners are in a stark Darwinian experiment. Yes, but all that matters to the guards is power. And to the multiple wardens. Think I exaggerate? Read on, gentle reader. So the dentist before me was there for some thirty years. And he had his self to answer to. I didn’t realize how irritated the wardens were with this setup. Petty? Absolutely. But we’re just getting started. Turns out there was a lot of built-up, pent-up resentment over the dental area not being under the direct control of the prison officer hierarchical system. Guess what? I wasn’t informed of all the myriad political land mines I was soon to step on. I firmly believe if I had listened only to the advice from my administrators, I wouldn’t be alive today.
So I pull into the prototypical gravel parking lot at 7:30 AM. Pontiac was one of my old stomping grounds from high school. Quik’s was still there. Used to polish up the car or pick-up truck and drive around Quik’s. Over and over until we almost lost our minds. Cruisin’. Yep, we used to cruise Quik’s for hours. Good burgers. Probably not, but hey, we were teenagers. Big parking lot. Multiple lots for several businesses. All shut down after five or on weekends. Cruise, check out chicks. Repeat, ad infinitum. Once every hour or so, a new set of mounds bounced around. Gas was thirty cents a gallon. Gear heads. Pot heads. A little head now and then just to get by. Never got in trouble. Don’t know how.
Oh yes, the Pontiac Prison gravel parking lot. Cool morning. The crunch of old familiar sounds as I stepped out onto the gravel. Almost brought a subconscious recognition of fear. The only time we heard those sounds, (of crunching gravel beneath our feet), was getting out of a car for a fight or a friend. I looked towards the prison.
Simple barbed wire outer fence, with a small guard house. Grass lay after this for twenty feet or so, and then the administrative complex which housed everything, basically, except the prisoners. Long and rectangular, looked like a school. Ran the entire north side of the prison complex. Enter through glass doors and then proceed ten feet to the oldest, biggest, most intimidating steel gate that I had ever seen. Auguste Rodin’s “Gate of Hell,” without the ornament. Just swung grudgingly open momentarily, before slamming shut momentously on those huge groaning hinges. Shut. Silence, every time. For a moment, just made one reflect on the “end.” Period. Never have had quite the same feeling about gates since. Shudder, groan, goodbye is all they ever said.
As I said, just stepped out onto the dewy morning gravel. A new day. A new life. Whoa there, cowboy, probably not what was said on the “inside,” eh? I have tried to tell people about this…” feeling” one notices emanating from Pontiac Prison. No one pays much mind until you’ll be going in. Ancient. Evil. Stark. Mania. Insanity. Loneliness. Despair. Hopelessness. A forever feel to these piled up, reeked up, soiled up rock confines. One feels the cement used is from Roman times. Filth, eking out of this place and contaminating you as you watched, mesmerized. Yes, I know. My assistant used to laugh at my exaggeration of these elements in the story of Pontiac. Till I took her there one day. Parked in the old gravel parking lot. Saw her laughs turn to that first recognition of fear.
“Maybe we should go,” she said.
“Why? We just got here. Come on, get out and take a look. Wanna go in?”
She just shuddered and got back in the car. We talked about it later. She wasn’t laughing. She also felt that creeping nausea, that evil reach out to…
Yep, that’s Pontiac alright…the parking lot.
So, here I was on my first day. Boots on the gravel. Built like the proverbial “Brick …. House.” No, I’m not kidding. Thought I should mention this. It’s from dental school and the sick environments created there. But applies here too. Helps almost anytime, anyplace, as far as I can figure. Now, I wasn’t going in here to prove my manhood or fight or anything like that. Just the same, Darwinian is Darwinian. Went to the little gatehouse.
“Hi,” the guard said. The guards get, and security in general gets, progressively surlier as one goes inside and/or their rank goes up. Not that the guards treated me badly, they didn’t.
“Hi, uh, I’m new…”
” Dentist, aren’t you? Yes, I can see that.”
He may not have even asked me for ID, after all, what were the chances some young punk would come here on the day the new dentist was, and falsely announce himself? Also, I don’t believe they ever searched for me. It was a courtesy. They may have once for a lockdown.
“Just check in at administration. They’ll take it from there.”
Walked up about twenty feet, went through the administrative-looking doors, and voila, instant prison life. Like switching on a light. Someone young, or white, stands out. Period. You better hope you’re standing out because you are NOT in prison blues. Just stopped to catch my breath.
“Who you think you lookin’ at? Huh? You better get your pearly white back up the hall where it belongs. Fish.”
“Ahem, me?”
“Yea, YOU. Who the hell you think I talkin’ to?”
A guard appears, “Alright Marcus, ain’t you s’posed to be somewhere? Best be gettin’ there.”
Guard: “Can I help you, sir?”
“Uh, yes, looking for administration?”
“Healthcare or Prison?”
“Healthcare.”
“Right around that corner. You the new dentist?”
“Yes, yes, that’s right.”
As I rounded the corner I couldn’t help peeking into the room where the inmates made their phone calls or met with people and visitors. Just pure chaos. Boyfriend arguin’ with a girlfriend.
“You know I didn’t. You tell Jackie his ass be mine.”
And so on. And then I ran into that big fake smiling face I had seen so many times in the salesmen who frequented my father’s hardware store. The typical, seedy, untrustworthy, lyin’ when I can, and then some, the face of my immediate superior in the health administration. A job with little beginning and similar education, and soon representing nothing to me but a pain in the ass. I just wish I wasn’t always right on these matters.
“Hello, you must be Victor.”
“Uh, yes, you just interviewed me, remember?”
“Oh, yes, of course, I do. We’re just excited to have you join us and start your career, aren’t you?”
“Yes, about that. I don’t have my license back from the state yet. It’s just procedural, but don’t you think I should have it?”
“Oh, don’t worry about it. You’re under our malpractice umbrella.”
Now, at this time, I was so naive, I thought if he says so, it must be alright. Fortunately, my license arrived that week and all was well.
“I think all your paperwork has been signed. Now, do you remember where the dental clinic is?”
“Sure.” I kind of half thought to myself.
“Ok, already? Here we go.”
He walks me back down the hallway, where this other prisoner is now back again looking at me with defiance. Then turns right to the “gate.” Tells the guard to open it, this is the new Doc. As I’m still travailing the length of the door upwards with my eyes, I vaguely recognize…
“Do you need anything else?”
I felt like I was just ready to go under anesthesia. Dreamlike. Then the guard slammed the ton gate closed and my world reverberated. Boom. Unimaginable stopping-retaining power. I shuddered for a moment. Was just going to say something to the guard when I noticed he was on the other side of the gate. I stumbled a little on the interior cement steps then caught my balance. Turned around into the sun. 8:15 AM. The yard. Full of prisoners mowing, clipping, hoeing, scything, (I kid you not) the grass. Maybe two or three hundred of them.
ALL came to a dead stillness. Not a sound. Not a twitch of a muscle. Uh-huh? Well, this was a bad decision and I turned back for the gate. The guard just smiled. Ok, ahem…ahem, ahem. Wasn’t ready for this today. Just a simple little two-block walk to the dental clinic, through these boys. Now, you may think what you like, but every man knows intrinsically what’s going down here. I had NO doubts. Ladies, you’ll just have to believe me, there are certain moments in a man’s life that cannot be misinterpreted.
Besides, I still had Ronnie R., in the tower to protect me. Yes, sir, he would shoot down any gang member trying to do me bad. If he got permission to load his gun. If he wasn’t looking the other way on purpose. Ronnie would level that gun and shoot a gang member to save me. Hahaha. Yes, it was a pretty good joke, on me. Ronnie would no more do this than…I don’t know what. He works there. Hello. Even if he quit that day, there would be a contract out on the street for him to be dead. And the best part about it was I knew Ronnie, from high school. Yep, he was our local drug dealer and all-around Charlie Manson look-alike. (And if you need a psychiatrist to tell you Charlie Manson’s crazy, you might as well ask your priest if it’s time for an affair.) Yes, sir, I was…screwed and tattooed.
So I took a deep breath, let it out, took my Goddamned testosterone Superman pill, and started to walk a walk, I would remember for a very long time. See, this was about not showing fear. Believe me, ladies, I know what I say. These men could easily kill me, beat me, etc. But that wasn’t it now. Now was to see if the boy could walk the walk. Remember, I told you I was built like a brick shit house. And thank God for me, psychologically at least. These guys hadn’t moved a muscle since I came in. Some on the sidewalks. Some are on the grass. Leaning on hoes. Foot in my way. Chest in my way. You get it. Oh, by the way, the game is played like this: Must stay on the sidewalk. That’s where one would normally walk. Walking around or in the grass is a big mistake. Of course, walking into someone is a big mistake also. Therein lies the crux.
I walk down the few remaining steps to the yard. No movement but the eyes. They follow me. Test me. Judge me. Dare me. I come up to the first man who is in my way, partly, on the sidewalk. I’m getting pissed off. This helps me. I know where I am, but this intimidating, bully-stuff never set well with me. So, I mumble an excuse me, and do a combo go around (a little), push him away,(a little), and stare at him, (a little.) He says nothing, but there is no retaliation. This goes on in several similar confrontations, but mostly “eye fu..ing” as they say. Although one guy just had to not move and I was forced to push a little more than I wanted. You don’t push as much as take your shoulder and bump him out of the way. I thought things had been going well. One block-two hours. It seemed. Then this guy, and I thought there would be a little trouble. (uh, yeah…I accidentally knocked him over), (oh, BTW, that’s a no-no).
But who should come to my rescue at that opportune moment? Ronnie R? No, even better. The cell blocks were just huge. All cement. Facing the yard, all one could see was oblong filth. The one I currently was in front of was like that. Complete silence still. Then a BOOMING BIG BLACK VOICE rang out from the empty cement cell block…
“Hey, hey…I know what you need boy. (Just reverberating and booming in the silence.) You need someone that’s been locked up for a LONG time. Hey, hey.”
Oh yeah, that just made my cracker-ass day. Then all hell broke loose. Everybody cat-callin’. Whistlin’ what a nice ass I had. You get it. To the clinic. Everybody was laughin’ now.
Uh-huh? First-day jitters? Tell me about it.
Casablanca
And you flick another ash-
mesmerized,
her stockings pass.
Stockings so seemed
hands in your hair,
tears…
not really there.
Shoes
just for you…
Hmm, perhaps
another glass,
another year,
another lass.
The memory,
alive again…
another chance-
hands in your hair,
you flick another ash.
Jimmy Keane
Played professional football,
the forties, our beloved Bears.
Big bear, big hands.
Sweet, broke man.
Not broken,
just broke.
Entertaining.
Stories…
oh, the stories he could tell.
Best “hrmmph” I ever heard.
Charm-when he wanted to-
I’ve never seen better.
Golf hustler,
big, life-filled laugh.
Truly, a man’s man.
Memories-
oh, to access them.
He drifted in and out
of memories, reality,
at the end.
Random brain perfusion?
Dilaudid induced delusion?
We all have perfect memory.
Of this, I’m sure-
just can’t access it.
But we will,
someday we will.
Dilaudid,
the dear medical establishment,
induces random, multiple
memory trails-not delusions.
The patient actually gets
a whiff of…
eternity,
peace,
ecstasy.
He reached out for me,
tubes an’ all-
my little hand
and his big paw.
Let me part
with a little something
we men, can’t admit.
I loved this man.
Try holding the hand
of someone passing.
It doesn’t get
any more real,
than this.
The ignorance,
lifted from your shoulders,
is almost worth…
What you miss
Whenever you said something to him, or reprimanded him,
(ha ha), all he ever said was-” Ok, Coach.”
placed in storage
Closet Bound
Before the full length mirror
stands the reflection of
pressing matters.
Parasitic woman
presses her dresses,
lays them in boxes
alongside her letters.
Pretty, pretty closets
stacked full of dreams,
and the empathy she lacks.
Sees her future
much clearer
through crystal
liquored glass.
Parasitic woman
presses her dresses,
leaving her messes
lay.
From yesterday and before,
it’s been forever for
an arm to reach
the children
and not the glass.
Languid mirror
of narcissistic visions
without means…
Still, she presses on.
The End
Innocence must pass
An Easel and A Quay
My measured stroke seems smaller,
but quicker by same measure.
An innocence long squandered,
as innocence must be.
Unrolled another canvas
and sat a new study.
I thought perhaps she liked me,
her legs she moved with ease.
I began,
but quickly saddened.
Still, I painted
the picture bound to be.
An innocence so brilliant,
colours that touched her,
my hand just seemed to know.
I paid her rather quickly,
she asked if she could see.
I smiled but said, “Come later,
much later in the day.”
Brushes against the easel…
the paint had its way.
Her innocence, those colours,
splattered across the canvas,
and tracked the quay.
I walk a path familiar
as I see her up the way.,
This piece is fictional.
Figurative, and fumbling. LOL
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One of my favorite writers is Stuart Woods. Boy, can the dude pump them out! In the last count, he has written over 80 books almost all of the best sellers and he has been pumping out one to two a year since he first got published in the late ’70s.
He died this week at age 83. He wrote over 90 books in his life and I have read most of them.
He started out writing “Chiefs” which became a movie as well. The main character is a police chief in a small town in Georgia. The character reappears in many later novels, eventually becoming a two-term president, and in town, Delgado also appears as a place in many of his later novels. Most of his novels are set in NYC, Maine, Key West, Los Angeles, and Santa Fe, New Mexico.
Most of his books feature the exploits of Stone Barrington, an NYC high-society type who is a James Bond-like character. He is a retired NYC cop, a lawyer, a real estate investor, a part-time CIA agent, and a player with many love interests. He is also best friends with three presidents and the not-so-secret lover of the current President. He introduced me to Knob Creek bourbon which is now one of my favorite bourbons, and he is also partial to Martinis-made James Bond style.
In this alternative universe, the President serves two terms, his wife serves two terms, and her secretary of State is elected President. Stone is friends with them all.
Stone’s best friend is Dino Bachetti, his old NYC homicide partner who became NYC Police Commissioner and helps Stone out officially and unofficially over the years. He has had a lot of love interests including Holly Barker who was a former secretary of state and president.
Another recurring character is Ed Lee who is a friend of Stone who lives and works out of Santa Fe New Mexico. Ed Lee is a 6’8 former college basketball player who becomes an attorney.
My only criticism is that his books are very formalistic. At some point, someone is going to be able to program a computer to write novels and his novels would be a great place to start because I am sure that a computer could generate believable Stone Barrington novels. Having said that, his novels are still enjoyable.
He has written a few non-Stone Barrington novels stand-alone novels. One I enjoyed recently was Palindrome which is a psychological thriller set on an island off the South Carolina coast. Written in the mid 90’s I believe.
I often start a novel of his while waiting around in the PX for my wife to finish up, and throughout several visits, often finish the novel.
The following is a list of his novels, I bolded the ones I have read. One of my bucket list reading goals is to finish reading all of his novels, including the last two coming out this fall..
I have often thought that someday an AI program will be able to write an effective thriller. I write to Stuart Woods and IBM proposing a challenge.
Big Blue and Stuart Woods would both write a Stone Barrington novel. A jury of readers and critics would read the result and determine which one was the computer version and which was the human version.
Stuart Woods took the challenge and IBM big blue went to work. IBM won the contest as the jurry thought the computer version was better.
About Stuart Woods:
Stuarts Woods is an American novelist. He was born in Georgia in 1938, and died in August, 2022. He graduated from the University of Georgia in 1959. He then enrolled in the National Guard before moving to New York to start a career.
He then moved to London and spent a further 3 years working in advertising before deciding that he wanted a change and he began writing his first novel. It is at this time that he decided to move to Ireland where he lived a solitary lifestyle, only leaving his home to make money writing adverts for local television.
SailingWoods moved to Ireland in the 70s and this was where he fell in love with sailing. He spent many years competing in sailing competitions and learning how to be a better sailor. He finally bought his boat when his grandfather died and left him some money, so he could afford it. It was then that he took sailing more seriously and spent most of 1974 learning more about sailing.WritingWoods began writing about his experiences in his yacht races and he published 1977, the book Blue Water, Green Skipper. It seemed like he had found an ideal career based on the thing he loved most, sailing.Changing PlansHis second book was supposed to be about another boat race that he was due to take part in, but the race was canceled due to inclement weather, so he decided to drive around the UK and write a book about his adventures in the county inns.ChiefsWoods then went on to write his first novel called Chiefs. He made the mistake of selling the book to publishers unfinished because he thought he would have gotten a lot more for it had he waited until the book was finished.Norton was the company to publish the hardback, but he felt like the company let him down because they didn’t do much to promote the book. He then contacted Bentham Books, who published the paperback and it was much more successful.Charlton HestonIn 1983, the book was made into a tv series starring Charlton Heston and Danny Glover. It was aired by CBS over three nights and it ended up being nominated for three Emmy Awards.The popularity of the tv show meant that more people wanted to read the books and there was renewed interest in the paperback version of the books Woods won the Edgar Award for the Best First Novel.Series Over StandalonesWoods is one of those authors who are more focused on the series of novels over the standalone. His most popular series is the Stone Barrington Novels. He has just released his 27th novel in the series and he has written 3 more novels, which are set to be released in 2014.Who is Stone Barrington?Stone Barrington is a counsel for a law firm. After he finished college, he joined the police and served 14 years on the force. He left after disagreeing with his superiors and then got a job with the law firm. The novels tell the story of his exploits so far.In the Stone Barrington novels, Woods is often congratulated for getting the law procedures correct when he has no background in law himself. It is noticed a lot and one fan asked how he gets it all right. He indicates that he is a massive fan of law procedurals such as LA Law and Law & Order, so gets all of his knowledge from there. He has made a few friends who are Lawyers, so if he gets anything wrong, they tell him.Holly BarkerHolly Barker is a character in another series of books that he writes. She is an ex-army officer and navy brat. She left the army because of a sex scandal and she has to learn how to live a civilian life. She begins her new life as the Chief of Police and she learns just how dangerous her new life is.Even though Woods has written several series, which focus on the life of a single character, the characters from each of the novels do crossover into other series. For example, Stone Barrington appears in the second Holly Barker novel and he also appears in the second novel of the Rick Barron novels.Rick BarronThe Rick Barron novels are only two books deep at the moment. Rick Barron was a police detective and he was demoted after a run-in with a higher officer. He gets the job as security for Centurion Pictures but finds himself in the middle of a double murder case in the period that is said to be the golden age of Hollywood cinema.The first Rick Barron novel, The Prince of Beverly Hills, was meant to be a standalone novel but Woods ended up writing a sequel after he was bombarded with emails from fans asking him to write another. He has no plans to write another at this moment in time.After Chiefs was made into a TV series, one of his other books was adapted for TV as well. Grass Roots was made into a TV series in 1993. Since then, no other books have been made for TV.Woods indicates that he would love it for his other books to be made into movies and if a director has read one of the books and wants to buy the rights, then he encourages the writer to get in touch with his agent.
As some of you might know, I am reading the classics these days. I picked a three-volume series called “50 Books You Must Read Before You Die” (free Kindle classic collection item) and started with volume three, and the Harvard classic collection (also a free Kindle classic item). I recently finished reading the Gilbert Keith Chesterton selections. Specifically, I read the following four items.
The Wisdom of Father Brown [Gilbert Keith Chesterton]
– Heretics [Gilbert Keith Chesterton]
– The Donnington Affair [Gilbert Keith Chesterton] another Father Brown story
– The Innocence of Father Brown [Gilbert Keith Chesterton]
He was a towering figure in British intellectual life – a social conservative who became a Catholic. He was friends with George Bernard Shaw and HG Wells and engaged in spirited debates with both during his life. He wrote over 80 books on a wide range of topics. He was described as a big man who was very absent-minded, leaving his wife to take care of most mundane things. I can relate to that.
Reading these selections, particularly the three Father Brown selections from the viewpoint of the early 21st century, presents some challenges. Like most writers of his era -late 19th century -mid 20th century, his writing sounds very ablest, anti-Semitic, colonist, elitist, racist, and sexist. Of course, a writer in that era would simply not recognize the ablest, anti-Semitic, colonist, elitist, racist, and sexist aspects of his work, nor would he or she particularly care. So, I noted that and moved on.
comments greatly appreciated.
He is perhaps most famous for his Father Brown stories. (i had heard of these stories a long time ago). There is a BBC mini-series based on these stories that I would love to track down and watch someday. Father Brown is an interesting fictional detective. He reminds me a bit of Hercules Perot of Agatha Christie fame, or perhaps a bit of Sherlock Holmes as well. Father Brown is a Catholic priest in England who develops a reputation as an amateur detective as he solves cases through his superior analytical ability, as well as his thinking outside the box to use a more modern idiom. He travels around England, and France often with his friend, Flambeau who is a French detective, whom Father Brown convinces to turn away from a life of crime and go straight.
Each of the stories is both a stand-alone story and fits a larger narrative as the characters evolve through time.
I suppose my favorites were
“The Wrong Shape”, The Saturday Evening Post, 10 December 1910.
“The Sins of Prince Sardine”, The Saturday Evening Post, 22 April 1911.
The Hammer of God (as “The Bolt from the Blue”, The Saturday Evening Post, 5 November 1910.
“The Eye of Apollo”, The Saturday Evening Post, 25 February 1911.
“The Sign of the Broken Sword”, The Saturday Evening Post, 7 January 1911.
“The Fairy Tale of Father Brown”
My least favorite was
“The God of the Gongs” – because the racism in this story is just too much to deal with. The main murderer is a half-African from somewhere in the US who is a fighter but is accused of being a member of a Voodoo cult. They used the N-word throughout to describe him and his cult members.
The complete list follows:
. The Innocence of Father Brown, 1911
“The Blue Cross”, The Story-Teller, September 1910; first published as “Valentin Follows a Curious Trail”, The Saturday Evening Post, 23 July 1910
“The Secret Garden”, The Story-Teller, October 1910. (The Saturday Evening Post, Sep 3, 1910)
“The Queer Feet”, The Story-Teller, November 1910. (The Saturday Evening Post, Oct 1, 1910)
“The Flying Stars”, The Saturday Evening Post, 20 May 1911.
“The Invisible Man”, The Saturday Evening Post, 28 January 1911. (Cassell’s Magazine, Feb 1911)
The Honour of Israel Gow (as “The Strange Justice”, The Saturday Evening Post, 25 March 1911.
“The Wrong Shape”, The Saturday Evening Post, 10 December 1910.
“The Sins of Prince Saradine”, The Saturday Evening Post, 22 April 1911.
The Hammer of God (as “The Bolt from the Blue”, The Saturday Evening Post, 5 November 1910.
“The Eye of Apollo”, The Saturday Evening Post, 25 February 1911.
“The Sign of the Broken Sword”, The Saturday Evening Post, 7 January 1911.
“The Three Tools of Death”, The Saturday Evening Post, 24 June 1911.
(I have not read these stories, but might track it down someday, mainly to see how these stories differ from his earlier stories, as they were written after World War 1 and the previous stories were written pre-war).
“The Vanishing of Vaudrey” (Harper’s Magazine, Oct 1925)
“The Worst Crime in the World”
“The Red Moon of Meru”
“The Chief Mourner of Marne” (Harper’s Magazine, May 1925)
“The Secret of Flambeau” (framing story)
The Scandal of Father Brown (1935)
“The Scandal of Father Brown”, The Story-Teller, November 1933
“The Quick One”, The Saturday Evening Post, 25 November 1933
“The Blast of the Book/The Five Fugitives” (Liberty Aug 26, 1933)
“The Green Man” (Ladies Home Journal, November 1930)
“The Pursuit of Mr. Blue”
“The Crime of the Communist” (Collier’s Weekly, Jul 14, 1934)
“The Point of a Pin” (The Saturday Evening Post, Sep 17, 1932)
“The Insoluble Problem” (The Story-Teller, Mar 1935)
“The Vampire of the Village” (Strand Magazine, August 1936); included in later editions of The Scandal of Father Brown
Uncollected Stories (1914, 1936)
“The Donnington Affair” (The Premier, November 1914; written with Max Pemberton)
(read)
“The Mask of Midas” (1936)
Wiki Summation
Gilbert Keith Chesterton KC*SG (29 May 1874 – 14 June 1936) was an English writer,[2]philosopher, lay theologian, and literary and art critic. He has been referred to as the “prince of paradox“.[3]Time magazine observed his writing style: “Whenever possible Chesterton made his points with popular sayings, proverbs, allegories—first carefully turning them inside out.”[4]
K. Chesterton (2nd cousin) Signature. Gilbert Keith Chesterton KC*SG (29 May 1874 – 14 June 1936) was an English writer, [2] philosopher, lay theologian, and literary and art critic. He has been referred to as the “prince of paradox “. [3]
Jun 10, 2022, · G.K. Chesterton, in full Gilbert Keith Chesterton, (born May 29, 1874, London, England—died June 14, 1936, Beaconsfield, Buckinghamshire), English critic and author of verse, essays, novels, and short stories, known also for his exuberant personality and rotund figure.
Gilbert Keith Chesterton, better known as G. K. Chesterton, was a prominent literary figure in 20th-century London. He was a highly versatile individual who was as respected as a writer as he was for being an orator and Christian apologist.
Gilbert Keith Chesterton (1874-1936) was a prolific English critic and author of verse, essays, novels, and short stories. He is probably best known for his series about the priest-detective Father Brown who appeared in 50 stories. Between 1900 and 1936 Chesterton published some one hundred books.
Gilbert Keith Chesterton was born in London, England on the 29th of May, 1874. Though he considered himself a mere ‘rollicking journalist,’ he was a prolific and gifted writer in virtually every area of literature.
Gilbert Keith Chesterton was one of the critically acclaimed English novelists, orator, poet, journalist, biographer, philosopher, art and literary critic, and dramatist. He was better known by the name G.K. Chesterton and was often regarded as the ‘paradox prince’.
Jun 14, 2017, · Gilbert K. Chesterton Life, Hate, Passion 126 Copy quote But the truth is that it is only by believing in God that we can ever criticize the Government. Once abolish God is, the Government becomes God. Gilbert K. Chesterton Believe, Russia, Government “Christendom in Dublin”.
The complete list of the classics I am reading follows – bolded means I have read them.
“50 Masterpieces You Have to Read Before You Die”
Started reading the first one of volume 3
Bolded indicated I have read it.
Vol 3
This book contains the following works arranged alphabetically by authors’ last names
– What’s Bred in the Bone [Grant Allen] – The Golden Ass [Lucius Apuleius] – Meditations [Marcus Aurelius] – Northanger Abbey [Jane Austen] – Lady Susan [Jane Austen] – The Wonderful Wizard of Oz [Lyman Frank Baum] – The Art of Public Speaking [Dale Breckenridge Carnegie] – The Blazing World [Margaret Cavendish] – The Wisdom of Father Brown [Gilbert Keith Chesterton] – Heretics [Gilbert Keith Chesterton] – The Donnington Affair [Gilbert Keith Chesterton] – The Innocence of Father Brown [Gilbert Keith Chesterton] – Fanny Hill: Memoirs of a Woman of Pleasure [John Cleland]
– The Moonstone [Wilkie Collins]
– Lord Jim [Joseph Conrad]
– The Further Adventures of Robinson Crusoe [Daniel Defoe]
– The Pickwick Papers [Charles Dickens] – A Christmas Carol [Charles Dickens] – Notes From The Underground [Fyodor Mikhailovich Dostoyevsky] – The Gambler par Fyodor [Mikhailovich Dostoyevsky] – The Lost World [Arthur Conan Doyle] – The Hound of the Baskervilles [Arthur Conan Doyle] – The Sign of the Four [Arthur Conan Doyle] – The Man in the Iron Mask [Alexandre Dumas] – The Three Musketeers [Alexandre Dumas] – This Side of Paradise [Francis Scott Fitzgerald] – Curious, If True: Strange Tales [Elizabeth Cleghorn Gaskell]
– King Solomon’s Mines [Henry Rider Haggard] – The Hunchback of Notre Dame [Victor Hugo] – Kim [Rudyard Kipling]
– Captains Courageous [Rudyard Kipling]
– The Jungle Book [Rudyard Kipling]
– Lady Chatterley’s Lover [David Herbert Lawrence] – The Son of the Wolf [Jack London] – The Einstein Theory of Relativity [Hendrik Antoon Lorentz]
– The Dunwich Horror [Howard Phillips Lovecraft] – At the Mountains of Madness [Howard Phillips Lovecraft] – The Prince [Niccolò Machiavelli]
– The Story Girl [Lucy Maud Montgomery]
– The Antichrist [Friedrich Wilhelm Nietzsche] – The Republic [Plato] – The Last Man [Mary Shelley] –Life On The Mississippi [Mark Twain] – The Kama Sutra [Vatsyayana] – In the Year 2889 [Jules Verne] –Around the World in Eighty Days [Jules Verne] – Four Just Men [Edgar Wallace]
– Ben-Hur: A Tale of the Christ [Lewis Wallace]
– Tales of Space and Time [H. G. Wells] – Jacob’s Room [Virginia Woolf]
Vol 1
Alcott, Louisa May: Little Women Austen, Jane: Pride and Prejudice Austen, Jane: Emma
Balzac, Honoré de: Father Goriot
Barbusse, Henri: The Inferno
Brontë, Anne: The Tenant of Wildfell Hall Brontë, Charlotte: Jane Eyre Brontë, Emily: Wuthering Heights Burroughs, Edgar Rice: Tarzan of the Apes
Butler, Samuel: The Way of All Flesh Carroll, Lewis: Alice’s Adventures in Wonderland
Cather, Willa: My Ántonia Cervantes, Miguel de: Don Quixote
Chopin, Kate: The Awakening Conrad, Joseph: Heart of Darkness
Conrad, Joseph: Nostromo Cooper, James Fenimore: The Last of the Mohicans Crane, Stephen: The Red Badge of Courage
Cummings, E. E.: The Enormous Room Defoe, Daniel: Robinson Crusoe Defoe, Daniel: Moll Flanders Dickens, Charles: Bleak House Dickens, Charles: Great Expectations Dostoyevsky, Fyodor: Crime and Punishment Dostoyevsky, Fyodor: The Idiot Doyle, Arthur Conan: The Hound of the Baskervilles
Dreiser, Theodore: Sister Carrie Dumas, Alexandre: The Three Musketeers Dumas, Alexandre: The Count of Monte Cristo Eliot, George: Middlemarch
Fielding, Henry: Tom Jones
Flaubert, Gustave: Madame Bovary
Flaubert, Gustave: Sentimental Education
Ford, Ford Madox: The Good Soldier Forster, E. M.: A Room With a View
Forster, E. M.: Howards End
Gaskell, Elizabeth: North and South Goethe, Johann Wolfgang von: The Sorrows of Young Werther
Gogol, Nikolai: Dead Souls
Gorky, Maxim: The Mother Haggard, H. Rider: King Solomon’s Mines Hardy, Thomas: Tess of the D’Urbervilles Hawthorne, Nathaniel: The Scarlet Letter Homer: The Odyssey Hugo, Victor: The Hunchback of Notre Dame Hugo, Victor: Les Misérables
Huxley, Aldous: Crome Yellow
James, Henry: The Portrait of a Lady
Volume 2
– Little Women [Louisa May Alcott] – Sense and Sensibility [Jane Austen] – Peter Pan (Peter and Wendy) [J.M. Barrie]
– Cabin Fever [ B. M. Bower]
– The Secret Garden [Frances Hodgson Burnett]
– A Little Princess [Frances Hodgson Burnett] – Alice’s Adventures in Wonderland [Lewis Carroll]
– The King in Yellow [Robert William Chambers] – The Man Who Knew Too Much [Gilbert Keith Chesterton]
– The Woman in White [Wilkie Collins]
– The Most Dangerous Game [Richard Connell]
– On the Origin of Species, 6th Edition [Charles Darwin] – Robinson Crusoe [Daniel Defoe]
– The Iron Woman [Margaret Deland] – David Copperfield [Charles Dickens] – Oliver Twist [Charles Dickens] – A Tale of Two Cities [Charles Dickens]
– The Double [Fyodor Mikhailovich Dostoyevsky] The Memoirs of Sherlock Holmes [Arthur Conan Doyle] – The Three Musketeers [Alexandre Dumas]
– The Curious Case of Benjamin Button [Francis Scott Fitzgerald] – Dream Psychology [Sigmund Freud] – Tess of the d’Urbervilles [Thomas Hardy] – Siddhartha [Hermann Hesse] – The Fall of the House of Usher [Edgar Allan Poe]
– The Arabian Nights [Andrew Lang]
– The Sea Wolf [Jack London] – The Call of Cthulhu [Howard Phillips Lovecraft]
– Anne of Green Gables [Lucy Maud Montgomery] – Beyond Good and Evil [Friedrich Wilhelm Nietzsche] – The Murders in the Rue Morgue [Edgar Allan Poe] – The Black Cat [Edgar Allan Poe] – The Raven [Edgar Allan Poe]
– Swann’s Way [Marcel Proust] – Romeo and Juliet [William Shakespeare] – Treasure Island [Robert Louis Stevenson] – The Elements of Style [William Strunk Jr.
Harvard Classics
(1) Franklin, Woolman, Penn
(2) Plato, Epictetus,
Marcus, Aurelius Meditations
(3) Bacon, Milton’s Prose, Thomas Browne
(4) Complete Poems in English: Milton
(5) Essays and English Traits: Emerson (
6) Poems and Songs: Burns (7)
Confessions of St. Augustine. Imitation of Christ
(8) Nine Greek Dramas (9) Letters and Treatises of Cicero and Pliny
(10) Wealth of Nations: Adam Smith
(11) Origin of Species: Darwin
(12) Plutarch’s Lives (13)
Aeneid Virgil (14)
Don Quixote Part 1: Cervantes
(15)Pilgrim’s Progress. Donne
Herbert. Bunyan, Walton
(16) The Thousand and One Nights
(17) Folk-Lore and Fable. Aesop, Grimm, Andersen
(18) Modern English Drama
(19) Faust, Egmont Etc. Doctor Faustus, Goethe, Marlowe
(20) The Divine Comedy: Dante
(21) I Promessi Sposi, Manzoni
(22) The Odyssey: Homer
(23) Two Years Before the Mast. Dana
(24) On the Sublime French Revolution Etc. Burke
(25) Autobiography Etc. Essays and Addresses: J.S. Mill, T. Carlyle
For my writer friends who are just getting started submitting works to literary journals, here are my suggestions and advice based on my four years of submitting to literary magazines and being published in over 150 places so far.
My advice for anyone starting on the submission game is to get the fundamentals down first.
books read
Blog Page and Author Email are Essential
Before you submit anything, you need to set up a blog, make a preliminary spreadsheet for tracking, set up an author email., (including an email tracking system) a cover letter template, a folder to store your writing and an offsite backup – I use one drive and an external hard drive and back up every Sunday or before taking a trip.
Blogging 101
I use WordPress. There is a free version and a professional version, which I opted for. I pay 300 per year and it is sufficient, lots of help to get started, and when I had technical issues, they were quite helpful. Others use BlogSpot or Google blog, both have a free version as well. WordPress has good templates = I use maxwell. You will need a plugin for SEO (Search Engine Optimization) and for social utilities twitter. My posts are immediately posted to twitter, LinkedIn, and tumbler. Plugs in are only available for paid subscribers.
Podcast
Anchor is a great free program that takes your blog postings and turns it into podcasts and then publishes it on multiple sites.
You need to set up a tracking system. Duotrope can handle it all for you but I double-track it with my spreadsheet. See attached for suggested headers. I use Google docs. There are several others out there but that’s enough for now. Please feel free to let me know if you find out other useful sites.
Then put together whatever you want to submit, then look at the various market research sites I have included. and sign up for Duo trope – they will track your submission and send out a weekly market list. And finally, after submitting the update Duo trope and your spreadsheet.
Regarding the spreadsheet, I give each submission a topic so I can track my work. I have found that Microsoft word and One drive search engines are not very good so it is important to be able to track your work by topic.
The headers (columns) I use are
Status (rejected, accepted, withdrawn, re-write, the second submission? Sim okay? Deadline due)
Vendor
Additional vendors
Topic
Title
What submitted
Format copied from web page submission guidelines
Date of entry
Date of submission
Follow up due – default to three months
Response date
Response time
Duotrope entry date (update the date as needed, best to update duotrope as you submit)
SIM (note if simultaneous submission is okay or not, Yes/No )
Prior publication (note if prior publication is okay or not and what constitutes “unpublished, Yes/No, default to No if unclear Note: most sites don’t accept re-prints but usually spell out what they consider prior publication, personal blogs are usually okay as are Facebook postings for example, but ALWAYS FOLLOW THEIR GUIDELINES
Prior submission date
Title result
(Copy from duo trope)
E-mail
URL
Address
POS
Type of submission
(E-mail, online, submittable, duo trope, other)
Paid
Cost US$, CAD $, EURO, LB, Other)
Source of info
Location
Geographical and other restrictions
University affiliation
Comments received
Notes
Additional comments received
I use google docs, Excel has too many bugs in it, but any spreadsheet works fine, or access if you know how to use that. Duotrope will track things for you, but I prefer to double-track my submissions. And I also post reminders on my daily to-do list as things come in. It is also important to track your submissions and writings in your email and your folders.
I try to save all items by category as I write them as I have found that Microsoft search feature to be not useful nor is One Drive any better.
The bottom line is don’t submit until you have completed these preliminary steps.
Author web page and email essential;
If you don’t have an author web page and an author Facebook page no one will take you seriously. Same thing if you don’t have an author email. Once you start submitting you will soon be overwhelmed with emails. All the emails allow you to create more than one account. I use authorjakecosmosaller@gmail.com for my writing and jakecaller@gmail for everything else. The most common email is a simple author or writer followed by the rest of your email handle. The good thing is that if you have more than one account you will get additional storage space. I use one drive for my back-ups but have a G drive account where I store my spreadsheets, and writing com has generous storage as well as a professional looking email address.
Social Media as well
You also need a Twitter account, a LinkedIn account, and an Instagram account, but not a Pinterest, Tumbler, TikTok, or YouTube account, but if you have them, include them.
Duotrope A must
Duotrope is a great resource. I subscribed for 50 dollars a year.
You get the weekly market lists and they also keep track of your submissions,
The grinder is good as well and tracks as well. Most literary journals use submitable to track submissions which is free to use.
The most recent Duotrope email list follows
Duotrope Newsletter
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Hi, Jake!
Here’s your weekly newsletter…
There’s more on the site: This newsletter is only a small part of what Duotrope has to offer. Log on to duotrope.com to take advantage of all our great features!
To get the most out of what Duotrope offers, remember to report and track your submissions.
You currently have 419 pending submissions. Now’s a good time to take a minute to see if any of those reports need to be updated.
Agent Listings with major status changes:
Note that we always attempt to contact the agent before changing the listing’s status. (Learn more about this process.) Sophia Seidner has permanently closed to submissions. (NF)
Best Spiritual Literature Awards (Orison Books)
Best Spiritual Literature Award – Fiction (Charges fees.) / Best Spiritual Literature Award – Nonfiction (Charges fees.) / Best Spiritual Literature Award – Poetry (Charges fees.)
Creative nonfiction can encompass many kinds of writing including memoir, personal and literary essays, and narrative writing. It deals with a vast array of topics – memory, culture, travel, literature, food, race, illness, the environment, and much more, and can incorporate a range of forms and styles.
The magazines/outlets in this list all accept creative nonfiction. Almost all of them also publish other genres, like fiction and poetry.
Most, but not all, are open for submissions now.
Blue Earth Review
This literary journal is published by Minnesota State University, Mankato. They accept nonfiction of up to 3,000 words, fiction, and poetry. “We are interested in creative nonfiction (memoir and personal essay) with contemporary themes. No literary criticism. …. We love nonfiction that works on more than just a narrative level. Surprise us with metaphor and layers of meaning.” Details here.
Mangoprism
They accept both pitches and submissions – for personal essays, cultural criticism, long-form interviews with interesting people, short fiction; album, book, movie and product reviews; original reporting; radical political screeds; and unexpected recipes. Only, “your piece must be at least as enjoyable as eating a morsel of mango, the most succulent of fruits.” Pay is at least $0.10 for work of 1,000-3,000 words. Details here.
Channel Magazine
They publish writing from an environmental perspective – “work that engages with the natural world. We have a particular interest in work which encourages reflection on human interaction with plant and animal life, landscape and the self.” Essays (up to 6,000 words) and essay pitches are accepted year-round – including creative nonfiction, reportage, commentary, and criticism. They also publish translations. There are submission periods for fiction and poetry, which are closed now. Pay is €50 per page for prose, up to €150. Details here.
(Also see The Willowherb Review, which publishes nature writing, very broadly interpreted, by writers of color; pay is £250 for prose; deadline 30 June 2022. There’s also the UEA/Willowherb Speculative Nature Writing Call for Essay Proposals, a mentorship/publishing opportunity, in collaboration with the University of East Anglia, for three new/emerging writers of colour on nature writing; deadline 15 July 2022.)
Reckoning
They want creative writing, including translations, and art about environmental justice. “the nonfiction is more creative than journalistic … the heart of what we want is your searingly personal, visceral, idiosyncratic understanding of the world and the people in it as it has been, as it is, as it will be, as it could be, as a consequence of humanity’s relationship with the earth.” See the editors’ preferences for Issue 7. Send 3-5 poems, and up to 20,000 words of prose. Pay is $0.08/word for prose and $30/page for poetry. The annual deadline is usually Earth Day (22 September 2022). Details here.
New York Times: Modern Love and Tiny Love Stories
These are nonfiction columns. For both, they especially welcome work from historically underrepresented writers, and from those outside the US.
— Modern Love: They want “honest personal essays about contemporary relationships.
We seek true stories on finding love, losing love and trying to keep love alive. We welcome essays that explore subjects such as adoption, polyamory, technology, race and friendship — anything that could reasonably fit under the heading “Modern Love.” Ideally, essays should spring from some central dilemma you have faced. It is helpful, but not essential, for the situation to reflect what is happening in the world now.” Also, “Love may be universal, but individual experiences can differ immensely and be informed by factors including race, socio-economic status, gender, disability status, nationality, sexuality, age, religion and culture.” Send essays of 1,500-1,700 words. Modern Love has two submission periods, March through June, and September through December. Writers are paid. Details here.
— Tiny Love Stories: These are also personal essays similar in theme to Modern Love, but much shorter. “What kind of love story can you share in two tweets, an Instagram caption or a Facebook post? Tell us a love story from your own life — happy or sad, capturing a moment or a lifetime — in no more than 100 words. Include a picture taken by you that complements your narrative, whether a selfie, screenshot or snapshot. We seek to publish the funniest and heart-wrenching entries we receive. We call them Tiny Love Stories. They are about as long as this paragraph. They must be true and unpublished.” Details here.
The Account
They publish creative nonfiction of up to 6,000 words, as well as fiction and poetry. All work has to be accompanied by an account. “An account of a specific work traces its arc—through texts and world—while giving voice to the artist’s approach. … We are most interested in how you are tracking the thought, influences, and choices that make up your aesthetic as it pertains to a specific work.” At the time of writing, they were reading for their Fall 2022 issue. Details here and here.
So Textual
Their website says, “So Textual is a community and online platform for bookish individuals who seek a smart conversation about literature, creative practice, and a considered lifestyle. We celebrate books alongside the contemporary reader.” Among the topics they’re always looking for, are personal essays about a single book or author that changed your life. Also see a recent Twitter thread on the kind of pitches they want – “We’re always looking for evergreen essays, lists related to reading culture, city guides, and bookstore pilgrimages. We love overlooked writers, art making, meaning-making, in media res, epistolary, riposte, plot twists, besotted characters, offline considerations, literary props, mythmaking, associate thinking, fragments, synthesis as mastery, the classics, films for the literary”. Rates start at $200 for essays and $75 for lists. Details here (Twitter thread) and here (pitching guidelines).
Brick
This Canadian magazine only accepts literary nonfiction submissions, though they also publish some fiction and poetry. “Love has led Brick to publish essays of every description: on reading, the writing life, literature, art, ideas, travel, science, photography, the perfect ending, dance, sport, music, city-building, food, bathrooms, history . . . and we are always looking for new terrain. We are interested in the singular obsessions that compel you to write. We welcome humour, we welcome depth, we welcome the unclassifiable, and we welcome playfulness with the non-fiction form.” Their essays are usually 1,000-5,000 words. Their annual reading periods are September 1 to October 31, and from March 1 to April 30. Pay is CAD55-660. Details here.
…ongoing…
They publish writing and music based on prompts; each month, they will publish a prompt (or two); for music, writers have to respond with a prose piece of 50-1,000 words in any genre, and for written prompts, musicians have to respond with a piece of music. They have two musical prompts now, and invite writers to respond to these. The deadline for this month’s prompts is 26 June 2022, and pay is CAD30. Details here and here.
Empty House Press
Their website says, “We are looking for writing that addresses the way narrative and presence adhere to place and the way they vanish. We encourage broad interpretations of what the idea or image of an empty house might evoke. This includes but is not limited to writing about home, landscape, place, memory, and of course, the atmosphere of previously inhabited spaces.” Apart from nonfiction (up to 2,000 words), they also publish fiction, poetry, and photo series. Details here.
The Iowa Review
This well-regarded literary magazine, associated with the University of Iowa and published for 50-plus years, publishes nonfiction, fiction, poetry, and translations. There’s a fee for online submissions for non-subscribers, but postal submissions are free. For prose, length guidelines are up to 25 pages, and pay is $0.08/word. Their annual reading period is 1 September-1 November. Details here.
Good River Review
This journal is associated with Spalding University in Louisville, Kentucky. They publish two issues a year and feature book reviews, craft essays, and other literary news on their website. The magazine “is a home for writing that launches quickly, speaks to the universal through the particular, and is layered with meaning. We also love work that doesn’t fit neatly into genre categories. Our editors are attracted to writing that blurs boundaries, and so contributors will find their work published as prose, lyrics, or drama. In addition, we want to publish the most compelling writing for children and young adults that we can find.” Prose writers should submit one story, one longer-form essay, memoir, or immersive journalism (up to 5,000 words), or two shorter pieces. Details here.
Riddle Fence
This is a Canadian magazine of arts and culture. They publish contemporary writing, four times a year. They accept creative nonfiction (up to 3,000 words), features and reviews, poetry, fiction, and contemporary art. “For nonfiction, we’re looking for essays on the arts or on particular artists, or on aspects of culture and art as an idea or as a specific practice. We are also seeking creative non-fiction with a strong narrative drive.” Details here.
Scrawl Place
Their website says, “Scrawl Place is part visitor’s guide, part travelogue, part literary journal. It’s meant for readers who prefer Bashō to Lonely Planet.” Also, “I’m looking for submissions about “places in the places” where you live or where you’ve visited.
My only fixed criteria is that your submission be about or connected to or associated with a specific, physical place that someone could visit. … The place you write about could be a Wonder of the World, a random street corner that means something to you, or anything in between.” They accept creative nonfiction, fiction, poetry, and hybrid works of up to 900 words. Writers can send up to 3 pieces. Pay is $35. Details here.
Empty Mirror
They publish nonfiction – essays, reviews, articles, features, interviews, personal essays, of up to 20,000 words (see guidelines). They also publish poetry and visual art. They publish work every Friday. Details here.
The Sun Magazine
They publish personal essays, fiction, poetry, and photography. “Personal stories that touch on political and cultural issues are welcome.” Pay is $300-2,000 for prose, for print. There’s also a themed Readers Write section, which publishes only nonfiction – “Feel free to submit your writing under “Name Withheld” if it allows you to be more honest.” They have a few upcoming themes for this section, including Anniversaries, due 1 July; and The Phone, due 1 August 2022. Payment for Readers Write is magazine subscription. Details here and here.
Molecule – A Tiny Lit Mag
They publish prose – fiction and creative nonfiction, poetry, plays, interviews, reviews, and visual art twice annually. All work should be 50 words or fewer (including titles and interview questions). They also want visual art of tiny things like tea bags and toothpicks, or tiny paintings. Details here.
Toxic Workplaces Anthology
They plan to publish anthologies by women writers, starting 2023. The theme of the first creative nonfiction anthology is Toxic Workplaces. Send submissions of 1,000-5,000 words. Pay is $0.02/word for original essays; there is no cash payment for reprints. The deadline is 1 December 2022. Details here.
Dream Pop Journal
They publish work every Tuesday. They welcome submissions in experimental, non-narrative forms. Apart from poetry, reviews, visual art, and visual poetry & erasure, they publish a Speculative Diary, of up to 2,500 words – “Speculative diary is a subgenre of creative non-fiction that incorporates science fiction, fantasy, and horror elements into diary writing. Diary is anything from “Dear Diary” style writing to journaling, to sketches, vignettes, fragments, scintillae, or notes. What makes diary diary for this call is work that is concerned with chronology and kairology. For this specific call, speculative can include any sort of SF/F/Horror mythos, tropes, or archetypes. Speculative will also encompass the paranormal, supernatural, mythic, dystopian, alternate histories, retrofutures, Afrofuturism, dreampunk, Ethno/Southern Gothic, and hi-tech mystery/thriller. The point is to bring genre fiction ideas and aesthetics into one’s processing of the real world and memories.” Details here.
hey want creative, thematic, and entertaining literary humor. They accept many formats, including essays and lists. Pay is $10-35 for submissions up to 1,000 words. Details here.
Pithead Chapel
They want personal, memoir, lyric, flash (short-shorts), hybrid, and experimental essays, of up to 4,000 words. They also accept fiction and prose poetry. Details here.
Autofocus
Autofocus is a literary publisher of artful autobiographical writing. They have a literary journal, a podcast, and now, a press. For the journal, they want “personal essay, memoir, confessional poetry, curated journal/diary, curated letters/e-mail, hybrid explorations of the self, and any writing that makes art from your life.” Prose can be a single piece up to 2,000 words, or two shorter flash pieces. Details here.
(The Submittable page also has details of their craft anthology, ‘How to Write a Novel.’ “I’m looking for essays about brainstorming and drafting and experimenting and workshopping and revising and all the other different stages and elements of writing a novel… even though they probably won’t use those words.” Pay for the craft anthology essays is $50, and the deadline is 30 June 2022.)
Creative Nonfiction: True stories by (or about) nurses; and more
Creative Nonfiction regularly issues themed submission calls, and normally, these have a submission fee for non-subscribers. However, for their call on true stories by (or about) nurses, they’re not charging a fee, nor for pitches on creative nonfiction as a genre. See all the magazine’s calls here. For the nurses call, “We’re looking especially for pandemic-era stories, which examine the complex and essential role nurses of all kinds have played in providing care and guidance for patients and families, as well as the ways in which the pandemic has affected both individuals and the healthcare system.
We are looking for writers who can write dramatically and vividly about their work. Essays can be from 1,000 to 4,000 words and should be previously unpublished and written in a narrative form, with scenes, description, vivid characters, and a distinctive voice. … All submissions will be considered for the book and might also be considered for other CNF projects.” The deadline for this call is 27 June 2022. Details here.
(They’re also always open for pitches on writing about creative nonfiction. “We’re looking for writing about writing—smart and insightful ideas related to the art, craft, history, or philosophy of creative nonfiction.” They’re open to these kinds of stories, see guidelines for examples: then & now stories or timelines; explorations of specific subgenres, considering the work of more than one writer; arguments or research or ideas about why/how true stories matter; craft pieces, particularly related to structure, voice, or finding inspiration; pieces that explore connections between creative nonfiction and other fields/forms; in-depth interviews with prominent voices in the field; or, generally, work that engages deeply in some way with creative nonfiction as a form or practice. For upcoming issues, they are specially interested in pitches on voice in creative nonfiction, and flash nonfiction. These pieces are generally 1,000-3,000 words. Details here.)
Night Shift Radio: The Storyteller Series
Night Shift Radio podcast has The Storyteller Series and they choose two stories to publish each month. One story will be chosen for the Full Cast Audiobook treatment; that author will receive $50 for audio rights and non-exclusive print rights. A second piece will be chosen for their mid-month print only piece. The author of that piece will be offered $25. They publish fiction, nonfiction, memoir – anything that reads with tension and excitement. They have short, week-long submission windows during certain months: for 2022, they’ll read submissions during 21st to 28th of August, and of November. Please send submissions only during the reading period. Length guidelines are 7,000-10,000 words. Details here (episodes) and here (guidelines).
Pleiades
They are open for regular submissions until 30 June of nonfiction, reviews, fiction, and poetry. “…we are particularly interested in creative nonfiction that gazes out at the world rather than into the self. This is to say nothing against memoir, only that our publishing aesthetic leans towards the exterior in order to balance what we often see as a focus on memoir and interiority in many literary journals. Essays that perform a weave of the personal with an outward gaze are very welcome. We do not only consider externally-focused creative nonfiction, but this is our taste preference. Limit creative nonfiction submissions to 6,000 words.”
And during 1-31 July 2022, they will open submissions for a special folio, ‘Silences of War: Erasure within Conflict’. They want nonfiction, poetry, fiction, and hybrid work “that engages with the untold or silenced side of “war” in all its variations—from global to national to domestic conflict. What and who is erased by violence? What sounds do these silences make, and how can they be honored and represented? How can destruction take the form of creation and utterance? Send us your writing about historical and recent conflicts, forms of resistance and persistence, and the silences upheld by oppressive systems, structures, and individuals. We especially welcome creative work from historically marginalized perspectives.” Details here.
(There’s also Consequence Forum, which accepts work, including narrative nonfiction, on the consequences of war and geopolitical violence. Pay is $20-200, and the submission period is 15 July-15 October 2022.)
5 Paying Literary Magazines to Submit to in June 2022
These magazines accept fiction, nonfiction, and poetry. They’re a mix of literary and genre markets, and not all of them are open through the month.
Extra Teeth
This is a Scottish magazine with an international outlook; they publish fiction and nonfiction. “We look for short stories that stick with you, lingering in the memory long after reading, and essays that explore specific interests or issues from a new perspective. We offer a space for writers to be strange, bold and experimental, and to express their unique style however they see fit.” They also commission one guest illustrator per issue, whom they pay £500.
(And Mud Season Review is open for fiction, nonfiction, and poetry. Pay is $50, and the deadline is 30 June 2022, or until filled, for fee-free submissions.)
The Puritan
This Canadian literary magazine publishes fiction, nonfiction, interviews, reviews, and poetry. They accept a limited number of fee-free submissions every month.
Deadline: 25 June 2022 for Summer issue; reads year-round
Length: Up to 10,000 words for fiction, up to 4 poems; various for nonfiction (see guidelines)
Pay: CAD200 per essay; CAD150 for fiction; CAD100 per interview or review; CAD25 per poem (or page, capped at CAD80)
This is a quarterly speculative fiction magazine seeking diverse sci-fi and fantasy fiction. They also accept reprints. They read during March, June, September, and December.
This UK-based magazine only publishes nature writing by writers of color anywhere in the world (often termed BAME or BIPOC). They want nonfiction especially, but they consider fiction and poetry as well — on nature, place, and environment. “If you’re unsure if your piece fits the bill, let’s just say we believe nature writing can tackle all sorts of issues: from stories of farming to long treks, tales of migration, racism, community, and beauty. You might be writing about remote places, cities, lost landscapes, or old homes. We’re looking forward to seeing what matters most to emerging nature writers. Above all, your submission should have a great sense of place and attention to the natural world.” They do not want literary criticism.
Deadline: 30 June 2022
Length: Up to 3,000 words for prose, up to 3 poems
They publish poems from writers at all stages of their careers, and especially encourage emerging poets to submit. Send up to 5 poems. (They’re also running a fee-based contest for women poets.)
55+ carefully curated calls and competitions for poets, fictionists, & writers of cnf. No fees. Paying opportunities only. Nothing that’s limited to residents of a single city/state/province.
If you are accessing this newsletter via email, you may find a “Message Clipped” warning as you continue reading. That’s due to the length of this info-packed missive. Please be sure to click as appropriate to view the complete text.
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IN THIS ISSUE:
Editor’s Note
Success Stories
Featured Resource
Current Contests, Competitions, and Other Opportunities (NO ENTRY OR APPLICATION FEES; PAYING OPPORTUNITIES ONLY; NOTHING THAT’S LIMITED TO WRITERS IN A SINGLE CITY/STATE/PROVINCE)
Submission Alerts (NO SUBMISSION/READING FEES; PAYING CALLS ONLY; NOTHING THAT’S LIMITED TO WRITERS IN A SINGLE CITY/STATE/PROVINCE)
Blog Notes
Newsletter Matters
1. EDITOR’S NOTE
Welcome, practicing writers:
I wish that May had been a better month.
I wish that we lived in a better, less-wounded world.
I wish that I had healing words to offer here. I don’t.
But we are writers. And we work with words.
And if and when you have words to share that relate to recent events, perhaps some of the information in this newsletter will help you share and amplify them.
#Writers, you should check out @erikadreifus’s The Practicing Writer. I’ve sold at least 3 pieces to markets that probably wouldn’t have been on my radar if not for her newsletter. [ED note: Click through for links!]
Thanks to your posting The Fiddlehead’s calls for submissions in your newsletter, last year I sent them my essay “Boiled Boot,” about my grandmother’s childhood starvation during the Shoah and intergenerational trauma, and it is now in their spring issue. Since it’s in print only, I put a bit about the essay on my blog too. I so appreciate all that you do for the literary community!
I just had a (paid!) blog post accepted for “The Growlery,” Run Amok Books’ new blog about writers and writing. I became aware of this opportunity via the May edition of The Practicing Writer. It probably wouldn’t have ended up on my radar without your fantastic newsletter. Thank you!
In preparation for a couple of recent presentations, I’ve updated a list titled “Where to Read (And Publish) Writing on Jewish Themes”: bit.ly/JewishWriting
As noted in the introductory text, this resource is not limited to no-fee/paying publications, so bear that fact in mind.
4. CURRENT CONTESTS, COMPETITIONS, AND OTHER OPPORTUNITIES
RUTH LILLY AND DOROTHY SARGENT ROSENBERG FELLOWSHIPS
Deadline June 2 (11:59 pm Chicago time). Awards $25,800 each “to five young poets through a national competition sponsored by the Poetry Foundation. Established in 1989 by the Indianapolis philanthropist Ruth Lilly and increased in 2013 with a gift from the Dorothy Sargent Rosenberg Memorial Fund, the fellowships are intended to encourage the further study and writing of poetry.” Note that applicants “must reside in the U.S. or be U.S. citizens” and “must be at least 21 years of age and no older than 31 years of age as of April 30, 2022.”
LETRAS BORICUAS FELLOWSHIP
Deadline: June 13 (4 pm Eastern). Sponsored by The Mellon Foundation and The Flamboyan Foundation’s Arts Fund, this program provides 40 writers (20 selected in 2021 and 20 to be selected in 2022) with $25,000 each. “Recipients will also participate in a gathering of all forty Fellows to be hosted in Puerto Rico, tentatively scheduled for April 2023. While fellowship award funds are unrestricted, the hope is to help writers in Puerto Rico and across the diaspora, pursue their writing, amplify their work to a broader audience, and create work that celebrates Puerto Rican life and culture. It is also the aim that each Fellowship cohort will include writers of different genres [poetry, fiction, creative nonfiction, and children’s literature] and writers who live in Puerto Rico, as well as Puerto Ricans who may live in the United States. Applications will be accepted in Spanish and/or English.”
ANONYMOUS WAS A WOMAN ENVIRONMENTAL ART GRANTS
Deadline: June 14 (5 pm Eastern). “This program provides up to $20,000 for projects led by women-identifying artists in the United States and U.S. Territories,” supporting “environmental art projects that inspire thought, action, and ethical engagement. Projects should not only point at problems but aim to engage an environmental issue at some scale.” Note that “selected projects must benefit the public in some way, and are required to have a public engagement component by June 30, 2023.”
BARD FICTION PRIZE
Deadline: June 15 (received). For “a promising emerging writer who is an American citizen aged 39 years or younger at the time of application. In addition to a $30,000 cash award, the winner receives an appointment as a writer in residence at Bard College for one semester, without the expectation that he or she teach traditional courses. The recipient gives at least one public lecture and meets informally with students.” Application must include “three copies of the published book they feel best represents their work.”
JANE BRINKLEY SUMMER FELLOWSHIP
Deadline: June 15. “The Poetry Society of New York is seeking a generous, creative, thoughtful, open-minded, and hardworking young artist for our 2022 Jane Brinkley Fellowship. This fellowship is named after and was founded in memory of our former intern who we tragically lost at the beginning of this year….With this fellowship, we want to grant the opportunity for a college student like Jane to move to New York City for the summer and help produce the New York City Poetry Festival from September 10th-11th….This fellowship will last from July 1st to September 15th. The awardee will receive $5000 for these three months, as well as support from the Poetry Society of New York re: finding housing and acclimating to the New York area.”
CHRISTOPHER HEWITT AWARD
Deadline: June 15. Honoring A&U Magazine’s first literary editor, “the award showcases outstanding responses to the AIDS pandemic and the realities of individuals living with or affected by HIV/AIDS in the genres of fiction, poetry, drama, and creative nonfiction.” Awards $75 (per category) and publication. Judges: Philip F. Clark (poetry), Raymond Luczak (fiction), Jay Vithalani (creative nonfiction), Bruce Ward (drama).
#HIPPOCAMP22 CONFERENCE SCHOLARSHIPS
Deadline: June 15. “Hippocampus Magazine is pleased to announce that it’s offering an increased number of scholarships to HippoCamp: A Conference for Creative Nonfiction Writers this year, including three donor-supported (two of which are new this year). HippoCamp 2022 is an in-person conference, scheduled for Aug. 12-14 in Lancaster, PA. All conference scholarships cover full registration and entrance into a pre-conference workshop; the Friends and WOC scholarships also include a $200 travel stipend.” Funding opportunities include scholarships open to all writers; scholarships open to all unpublished writers of color; a scholarship open to all neurodiverse writers; and a scholarship open to all writers of flash creative nonfiction.
NORTON WRITER’S PRIZE
Deadline: June 15. “Recognizes outstanding original nonfiction by undergraduates. The contest is open to students aged 17 and above who are enrolled in an accredited 2- or 4-year college or university during the 2021–2022 academic year. Three cash prizes of $1,000 apiece will be awarded in 2022 for coursework submitted during the academic year,” one in each category (first-year student in a 2- or 4-year college or university; student in a 2-year college/university; student in a 4-year college/university). Instructor nomination required.
EUGENE C. PULLIAM FELLOWSHIP FOR EDITORIAL WRITING
Deadline: June 20. “Awards $75,000 to an outstanding editorial writer or columnist to help broaden his or her journalistic horizons and knowledge of the world. The annual award can be used to cover the cost of study, research and/or travel in any field. The fellowship results in editorials and other writings, including books.”
Deadline: June 22 (noon, Irish time). Competition “for people resident on the island of Ireland” for an unpublished short story. Prize: “€250 cash plus a course of the winner’s choice in the Molly Keane Writers Retreat, Ardmore in 2023 to the value of €250.” NB: “Entries shouldn’t be currently submitted elsewhere for consideration.”
DAVE GREBER FREELANCE WRITER AWARDS
Deadline: June 24. Two awards for social justice writing: “The book award is set at $5,000 and the magazine award is set at $2,000. Since the awards can be given before publication and book and magazine publishing timelines can differ, so do the requirements for each award.” Limited to writers who are “a continuing resident of Canada and at the date of application lived in Canada for the last twelve months” and “working a minimum of seventy percent of their work time as a self-employed freelance writer.”
GREAT LAKES COLLEGE ASSOCIATION NEW WRITERS AWARD
Deadline: June 25. “For the 53rd year, this group of thirteen independent Midwestern colleges will confer recognition on a volume of writing in each of three literary genres: poetry, fiction, and creative non-fiction. Publishers submit works on behalf of their authors; a defining criterion for this award is that a work must be an author’s first–published volume in the genre.” The winning writers “receive invitations to visit several GLCA member colleges, where they will read from their works and engage with students and faculty members in a variety of contexts.” Authors “receive an honorarium of $500 from each of the colleges they visit. In addition, writers are reimbursed for all travel, lodging, and food costs they might incur in visits to GLCA member colleges.” Limited to writers resident in the U.S. and Canada; publishers may submit only one entry per category. This year’s competition will consider works “that bear a publishing imprint of 2021 or 2022.”
BLUE MOUNTAIN ARTS POETRY CONTEST
Deadline: June 30. The biannual contest awards cash prizes ($350/$200/$100). “In addition, the winning poems will be displayed on our website.” Tips: “Poems can be rhyming or non-rhyming, although we find that non-rhyming poetry reads better. We suggest that you write about real emotions and feelings and that you have some special person or occasion in mind as you write.”
ZACHARY DOSS FRIENDS IN LETTERS MEMORIAL FELLOWSHIP
Deadline: June 30. Posted by Ryan Bollenbach/Heavy Feather Review: “In thinking about my relationship with my late friend and fellow writer Zach Doss, I often feel nostalgic about my lunches with him (and our subsequent conversations on the walk home); we would talk about writing, publishing, submissions (when we worked together at Black Warrior Review), campy TV series we were watching at the time, gossip about our MFA, or life in general. It was a significant aspect of our friendship. Though we rarely critiqued each other’s work in class, these meals and conversations were important to our relationship as friends and writers. It is with this kind of friendship in mind that I (along with the generous donation of an anonymous donor) am offering a small sum of $50 to four pairs of friend-artists who submit portfolios of work (with a short introduction) intended to be used for the winners to get a meal together, see a movie, get a few drinks together at a conference, etc. The key is being together. In this way, the offering is low stakes—with no expectation of production—yet I also hope to encourage writers to look beyond ideas of individual work and success that most competitions encourage and toward a deliberate investment in their relationship with their creative partner.”
DRUE HEINZ LITERATURE PRIZE
Deadline: June 30. “Eligible submissions include an unpublished manuscript of short stories; two or more novellas (a novella may comprise a maximum of 130 double-spaced typed pages); or a combination of one or more novellas and short stories. Novellas are only accepted as part of a larger collection. Manuscripts may be at least 150 and no more than 300 pages.” Open to those writing in English “who have published a book-length collection of fiction or at least three short stories or novellas in magazines or journals of national distribution. Digital-only publication and self-publication do not count toward this requirement.” Confers $15,000, publication by the University of Pittsburgh Press, and promotional support.
BROOKLYN CARIBBEAN LITERARY FESTIVAL (BCLF) SHORT FICTION STORY CONTEST
Deadline: July 1. The 2022 contest “will award US$1750 in cash for each of the two prizes [the BCLF Elizabeth Nunez Caribbean-American Writer’s Prize and the BCLF Elizabeth Nunez Award for Writers in the Caribbean] for the best piece of unpublished short fiction.” Judges: Katia D. Ulysse and Ifeona Fulani for the Caribbean-American Writer’s Prize and Ayesha Gibson-Gill and Tanya Savage-Batson for the Award for Writers in the Caribbean.
RICHARD MARGOLIS AWARD
Deadline: “Applications are accepted year-round but must be received by July 1 for consideration for the current-year award.” For “a promising new journalist or essayist whose nonfiction work combines warmth, humor, and wisdom and sheds light on issues of social justice. The award honors the life of Richard J. Margolis (1929-1991), a renowned journalist, essayist, and poet who gave eloquent voice to the rural poor, migrant farmworkers, Native Americans, aging adults, and others whose voices are seldom heard. He also wrote several books for children.” The award combines a one-month residency at Blue Mountain Center and a $10,000 prize.
MARLBOROUGH LIT FEST LOVE BOOKS COMPETITION
Deadline: July 1. “We want you to tell us why you love your favorite book, poem, or play. Your response can be in the form of a piece of text of up to 750 words, or through a video of no more than four minutes. Entrants should explain what they love about their chosen read, highlighting key areas of interest, and why they think others should try it. We are looking for creative, passionate, and engaging responses which celebrate your love of reading.” Prizes (£300 for a winner and £100 for a runner-up) will be awarded in each of three age-group categories: “13-16 years, 17-19 years, 20+ years.” Open to entrants outside the UK, “but you need a UK bank account to receive your prize money if you win.” (Hat tip: Sian Meades-Williams’s Freelance Writing Jobs newsletter.)
KINGSLEY AND KATE TUFTS POETRY AWARDS
Deadline: July 1. Based at Claremont Graduate University and given for poetry volumes published in the preceding year, these prizes confer $100,000 (Kingsley Tufts Poetry Award) and $10,000 (Kate Tufts Discovery Award). The current cycle will recognize works published between July 1, 2021, and June 30, 2022; the Kingsley Tufts award is for a mid-career poet while the Kate Tufts Discovery Award is for “a first book”; the Kingsley Tufts award also requires the winner to spend, within six months of the award presentation, “one week in residence at Claremont Graduate University for lectures, workshops, and poetry readings in Claremont and Greater Los Angeles.” NB: Self-published books are eligible. Note also: “Work must be original poetry written originally in English by a poet who is a citizen or legal resident alien of the United States.”
POETRY COALITION FELLOWSHIPS
Deadline: July 3. “The Poetry Coalition, a network of 25+ poetry organizations coordinated by the Academy of American Poets, is pleased to announce the 2022–2023 Poetry Coalition Fellowships, which are paid fellowship positions for five individuals who will each assist a different Poetry Coalition organization for twenty hours per week throughout forty weeks. The fellows will also receive professional development opportunities. The five organizations hosting Poetry Coalition Fellows this year are Letras Latinas, Mass Poetry, Urban Word, Woodland Pattern, and Youth Speaks….The positions will begin on September 5, 2022, and end on June 30, 2023. Interested individuals that are 21 or older are encouraged to apply, including those who are enrolled in or have recently graduated from an MFA program in creative writing.”
From quarterly zine STANCHION: “Three separate submission windows for Issue 8 will open in early June.” No theme. Pays: “$10, one complimentary copy of that issue of Stanchion, and a discount code to order extra copies.” Windows: June 1-3 for poetry; June 5-7 for “non-poetry”: June 9-11 for visual art.
Opening June 1 (and remain open for the rest of the month): BATH MAGG, “a magazine of new poetry,” for its summer issue. No simultaneous submissions. Payment: £20.
“CUTLEAF will be opening to fiction submissions on June 1. We’re limiting the call to 100 submissions for this reading period, so if you have a piece you’d like to submit, get it ready!” From the guidelines: “Cutleaf is interested in fiction of all shapes and sizes, although we are generally interested in work less than 6,000 words. Longer work must be exceptionally compelling, and we may publish longer works in installments. Short excerpts from longer works are more likely to be accepted when they stand alone as a discrete work. We will read one long piece or up to three short pieces at a time per author. We are also interested in flash fiction with a limit of 1,000 words. Cutleaf will pay from $100 to $400 for published fiction.”
THE MCNEESE REVIEW will open June 1 (and will remain so until August 31) “for submissions of poetry, fiction, and nonfiction for our 2023 print issue.” Payment: “All print contributors receive one contributor copy. We are pleased to also offer a $50 honorarium to print contributors within the U.S. Contributors outside of the U.S. will receive two additional author copies instead of the honorarium.”
Vermont-based international journal MUD SEASON REVIEW will be open during June, though “we may close the reading period early by genre if volume demands.” They’re seeking “deeply human work that will teach us something about life, but also about the craft of writing or visual art, and works that are original in its approach and that in some way moves us.” Payment: “$50 for work that appears in our issues. For artists whose images are paired with writing, and for poets whose work appears in The Take: Mud Season Review, we offer payment of $15.” (Hat tip here goes to the markets newsletter from WOW! Women on Writing.)
TACO BELL QUARTERLY has announced: “TBQ6 will be open June 1st to September 5th for a winter issue. Will pay $100.”
Also opening June 1, Ontario-based THE /TEMZ/ REVIEW. They pay $20 (presumably CAD) for poetry and prose.
I’ve been alerted that in honor of Juneteenth, THE MAINE REVIEW will run a fee-free submissions window from June 13 to June 19. (Another no-fee window, honoring Pride Month, will run from June 27 to July 3.) They publish “contemporary fiction, nonfiction, and poetry, including works in translation and hybrid forms.” Pay rates: “Fiction and Nonfiction writers receive a $25 honorarium per published flash (1,000 words or fewer) and a $50 honorarium for work 1,001 words or more. Poets receive a $25 honorarium per published poem.”
Until June 15, BELL PRESS welcomes submissions for several projects, including two anthologies (one on “Rituals” and the other on “Framework of the Human Body”), paying royalties and “an advance of $15 Canadian before publication.” They’re also receiving submissions for a 2023 Poetry Day Planner, for which payment is “a flat amount of $15 Canadian.”
CHANNEL, an Ireland-based litmag “born out of the climate crisis, publishing poetry and prose with an environmentalist perspective,” will close for submissions of fiction and poetry on June 15. (According to their guidelines, “essay submissions, which will be considered for online publication as well as for our next print issue, are open year-round.”) Payment: “€50 per poem and €50 per page of prose up to a total maximum fee of €150. Contributors will also receive a copy of whichever issue their work appears within.”
Another one closing on June 15: GRAIN, “an internationally acclaimed literary journal that publishes engaging, surprising, eclectic, and challenging writing and art by Canadian and international writers and artists.” Send poetry, fiction, or literary nonfiction (query for other genres). Pays: “All contributors, regardless of genre, are paid $50 per page to a maximum of $250, plus two copies of the issue in which their work appears” (the payment is presumably in Canadian dollars). NB: They do have a Submittable cap.
Also closing June 15: KALEIDOSCOPED, “a new literary magazine formed by MFA students at UC San Diego,” which is currently seeking submissions on the theme of “Ghosts and Gossip.” Pays: $20. (Hat tip: @Duotrope.)
FOYER, a UK-based “independent magazine celebrating and exploring untold stories from people of mixed, third culture and second-generation cultural heritage,” welcomes pitches and submissions for its first issue, on the theme of “Connect,” until June 17. Pays: £75.
THE PURITAN seeks submissions “all year round, from anywhere in the world,” but work received by June 25 will be considered for the summer issue. NB: “Please note that we can only issue payments using PayPal or a cheque in the mail. We also pay in CAD.” Pay rates range from $25-$200. “Please note that we can only issue payments using PayPal, Canadian bank e-transfer, or a cheque in the mail. We also pay in CAD. We can pay using Western Union [except to Nigeria] if no other option is available.”
Until June 27, CREATIVE NONFICTION/IN FACT BOOKS seeks “essays by and about nurses for an expanded anniversary edition of I Wasn’t Strong Like This When I Started Out: True Stories of Becoming a Nurse. “We’re looking especially for pandemic-era stories, which examine the complex and essential role nurses of all kinds have played in providing care and guidance for patients and families, as well as the ways in which the pandemic has affected both individuals and the healthcare system.” Payment is unspecified, but “this is a paying market. All submissions will be considered for the book and might also be considered for other CNF projects.”
Attention, Canadians! CLOUD LAKE LITERARY seeks submissions. “We currently publish fiction, creative nonfiction, poetry, and children’s literature (ages up to and including YA).” Receives submissions year-round, but work received by June 30 will be considered for the fall issue. Payment: $50 CAD per page to a maximum of CAD 150.
The Rainbow Issue of FAIRY TALE REVIEW “will be dedicated to queer fairy tales written by queer writers” and will remain open for submissions until June 30. “While The Rainbow Issue will be dedicated to queer fairy-tale poetry and prose written by writers who self-identify as members of the LGBTQIA+ community, we are especially interested in submissions by writers working at the intersection of queerness, including women and nonbinary writers, BIPOC, writers with disabilities, and writers from other marginalized and underrepresented groups in mainstream publishing.” Pays: “Contributors will receive two (2) issues of The Rainbow Issue and a $50 honorarium upon publication.”
FREEZE FRAME FICTION also remains open for submissions until June 30. Submissions should be “1000 words or less, any genre, no content restrictions. We want your science fiction, fantasy, horror, mystery, drama, literary works, satire, bizarre fiction, or anything else you can come up with or mix. The more original, the better. The weirder, the better.” Pays: “$10 per accepted piece.”
June 30 is the deadline for pamphlet submissions at NEON BOOKS: “Neon Books publishes a selection of paper broadsides and pamphlets, which are sent out for free with print orders….We’re looking for short works, such as individual poems, small sets of very short poems, or short pieces of fiction. Hybrid works, comics, and illustrated pieces are also very welcome….We enjoy pieces that can be presented interestingly or unusually. If you can think of an interesting way of presenting your work, please do include a note describing this in your cover letter. There’s no need to format your work ready for printing.” Will consider reprints. Payment: “a one-off fee of £25 on acceptance.”
June 30 is also the deadline for submissions for NEW GOTHIC REVIEW, which seeks “previously unpublished short stories that reimagine Gothic fiction for the 21st century.” Pays: “a flat $65 for stories (paid within 30 days of acceptance).”
THREAD COUNT, too, remains open until June 30. This publication “accepts original and previously unpublished works of prose, poetry, fiction, nonfiction, and hybrid text, but we prefer writing that resists such classifications. Primarily we focus on hybrid works between prose poetry and flash fiction.” Pays: $25. (Thanks to FlashFictionFlash for introducing me to this one.)
THE WILLOWHERB REVIEW, which “aims to provide a digital platform to celebrate and bolster nature writing by emerging and established writers of color,” is open for submissions until June 30 (“23.59[BST]”). “We’re looking for previously unpublished prose—non-fiction especially, but we will consider fiction and poetry—on nature, place, and environment.” Pays: “£250 for prose, £100 for poetry.”
Closing to poetry submissions July 1: Canada-based MINOLTA REVIEW, which welcomes work “from all those who identify as women and non-binary writers.” Pays: $25 per published poem presumably in Canadian dollars). Note also that they’re open to book review pitches and, beginning with their September issue, will pay $20 per published 250-500 word review. (Thanks to WOW! Women on Writing’s Markets Newsletter for the reminder about this one.)
SUBSTANTIALLY UNLIMITED, which “welcomes submissions from anyone who considers themselves disabled, or substantially limited, socially, emotionally, cognitively, or mentally,” remains open for submissions on the theme of “stigma” until July 1. Pays: “$15 per published piece via Venmo or Paypal.” (Hat tip: @Duotrope.)
Australia-based podcast PILLOW TALKING “is always looking for first-person, narrative/creative nonfiction stories of real-life bedroom conversations. This podcast wouldn’t exist without people choosing to share their intimate conversations. Whether they are thought-provoking, funny, heart-breaking, or silly this takes trust, vulnerability, and some guts, and I consider receiving each story a huge privilege and responsibility. You can submit from wherever in the world you happen to be.” Upcoming themes include “Blue” (with a June 4 deadline); “Suddenly Strangers” (June 18); and “Sanctuary” (July 2). Payment: “$25AUD, paid via PayPal or Stripe, within 1 week of the episode going to air.”
From the new journal BROKEN GLASS: “Do you write poetry? Tell stories? Conduct interesting interviews? If so, send us your work. We are starting a new digital magazine and want to hear from you! We focus on moments that embody the change that help readers experience perspective-altering inspiration, with an emphasis on the show over tell. Art, video, fiction, non-fiction, interviews, investigative reporting, fashion, design, book reviews, and more – if it fits our focus, we’d love to see your work. Submissions are free, and we offer honoraria of $50-200 for each piece selected to be published.” No deadline explicitly stated, but “submissions will be reviewed starting July 1.”
It may seem that lots of journals close for subs during the northern hemisphere’s summer, and yes—many do! But some remain open year-round. CRAFT is one. Pays: “$100 for original flash and $200 for original short fiction and creative nonfiction.” They also publish “essays on writing craft, critical literary analyses, book annotations/reviews, and interviews….All work in this section is concerned with fiction or creative nonfiction. Please do not send critical work about poetry, film, or any other genres….We pay $50 for craft and critical essays, and we pay $50 for most standard interviews and $100 for hybrid interviews (a critical essay paired with a Q&A).”
Similarly, FRACTURED LIT “is open year-round and is available to all writers. We currently feature two separate submission categories, based on the length of the work submitted: Micro Fiction, for work under 400 words; and Flash Fiction, for work 401-1,000 words.” Pays: “$50 for original micro fiction and $75 for original flash fiction.”
Reminder from THE MASTER’s REVIEW: “Our New Voices category is open year-round to any new or emerging author who has not published a work of fiction or narrative nonfiction of novel-length with a wide distribution. Authors with short story collections are free to submit, as are writers with books published by indie presses.” Pays: “We pay New Voices authors $200 for short fiction and narrative non-fiction, and $100 for flash-length narratives (up to 1,000 words).”
Likewise, at FRONTIER POETRY “submissions for our New Voices, poetry category is open year-round to any new and emerging poet who has not published more than one full-length collection of poetry. New Voices are published online only and will feature several poems from new authors each month.” Payment: “$50 per poem, up to $150.”
THE SUN welcomes submissions of personal essays, fiction, and poetry. “Personal stories that touch on political and cultural issues are welcome.” Pay rates: $300-$2,000 for essays and fiction; $100-$250 for poetry.
Another one that’s open year-round: THE WEST REVIEW, “a literary journal founded on the West Coast that seeks to promote and publish quality literature from our local, national, and international communities, which pays $10/poem and prose piece (via Paypal). NB: “We are primarily a poetry journal & only very rarely publish fiction. Before submitting, please read the prose included in prior issues to see if your work would be a good match.”
ORCA, which “publishes short stories and flash fiction, and a limited amount of nonfiction,” offers space for 100 free submissions each month. “If the fee-free submission forms do not appear, it means the 100 free submissions have been used for that month, and the free portals will reopen at the start of the next month.” They publish three issues each year: “two literary issues and one literary-speculative.” Payment: “$50 for published short stories and $25 for flash fiction.” (Thanks to Nancy Ludmerer for alerting me to the fee-free submissions policy.)
From CREATIVE NONFICTION: “We’re looking for writing about writing—smart and insightful ideas related to the art, craft, history, or philosophy of creative nonfiction.” Check the guidelines for details on what they’re looking for (and what they’re not looking for), and note that they seem especially interested right now in pitches addressing “voice in creative nonfiction” and flash nonfiction. “This is a paying market,” but pay rates aren’t specified; no deadline is specified, either.
Reminder: SHORT STORY, which aims to “revive the art of the short story, support artists, and produce something wonderful,” selects one story for publication each month and considers reprints. Pays: “base pay of $100 for the chosen story + 50% of subscription revenue to be sent by Paypal, Zelle, or check.”
And another reminder: Make it a habit to check the CHICKEN SOUP FOR THE SOUL website, where titles in development are posted. “If this is your first time, please visit our Story Guidelines page.” Pays: $200 plus 10 free copies.
The newsletter is published just once each month, but there’s always something new on the Practicing Writing blog:
(Monday) Markets and Jobs for Writers (including opportunities that don’t make it into the monthly newsletter)
Midweek Notes from a Practicing Writer
(Friday) Finds for Writers
Sunday Sentence
Please visit, comment, and subscribe!
Interested in matters of specifically Jewish literary and cultural interest? Please also visit the My Machberet blog (“each beret” is the Hebrew word for “notebook”).
7. NEWSLETTER MATTERS
Information contained in The Practicing Writer is researched carefully but readers should always verify the information. The Practicing Writer and its editor refuse any liability for the use of the information contained within. Thank you for following/reading.
We value our subscribers, and we protect their privacy. We keep our subscriber list confidential.
About the editor: Erika Dreifus is a writer, teacher, and literary consultant whose books include Birthright: Poems and Quiet Americans: Stories. A Fellow in the Sami Rohr Jewish Literary Institute and an adjunct associate professor at Baruch College/CUNY, she lives in New York. Please visit ErikaDreifus.com to learn more about her work and follow her on Facebook and/or Twitter, where she tweets “on matters bookish and/or Jewish.”
Hello and welcome to my daily Three Things Challenge!
Having passed the milestone of 1000 3TCs, we start again from #1 but numbers will now begin with a prefix of M, which is the Roman numeral for 1000.
I also thought I’d introduce a theme each week, though the words can be used in a variety of contexts, so use your imagination, read the prompt and see where your creativity takes you. Your post doesn’t have to be connected to the theme though and you can use all three words, two or just one. There are no restrictions regarding length, style, or genre, but please remember to keep it family friendly.
Tag your responses with 3TC, #threethingschallenge or TTC and you can also add my logo if you wish. Invite us along by creating a pingback to this post, then leave your link in the comments so that other people can read your writings and I’ll see it to respond to you directly. Maybe you’d like to check out some by other bloggers while you’re there.
Although I schedule the challenge to go out around 6.00 am UK time, pingbacks have to be approved manually so don’t worry if they don’t show immediately. This could be because I’m late accessing my blog or due to time differences, but I will get there, I promise!
Thank you all for your continued support and as always I look forward to reading your contributions.
I’ve chosen the theme of motorways, roads and traffic this week.
Your three words today are:
BEND
LIGHTS
BYPASS
That’s it for the free advice. Hit me up if you have any concerns or wish to add to the list of useful sites.
Writers HQ is based in England and is a good writer resource site. They offer lots of free courses and advice. I like their snarky attitude. They are asking for donations as a grant they had counted on dried up. It is a worthy organization to support.
a small plea for your kindly assistance…
Hey hey Jake
This email is a small change from the scheduled entertainment.
Your normal Writers’ HQ newsletter will arrive at 11.30 am, just in time for you to have a cup of tea and a biscuit and read it at your leisure (it’s a good ‘un, about taking off your trousers and finishing things).
Before we send that, we need to ask you something pretty important.
So.
Right.
Ugh, this sucks.
Right.
As you know the pandemic has proper knackered arts orgs and artists all over the shop and that, unfortunately, includes us. For the last 18 months, we’ve been unable to run our live events safely, honestly? It’s left a huge hole in our beeswax. Add to the nightmare with the cowboy web developers and things at WHQ HQ are a little on the precarious side.
Recently the Arts Council decided we weren’t allowed to apply for the Culture Recovery Fund because we asked for both too much and too little (we don’t understand either)*. We have maxed out all available credit and aren’t eligible for any of the other covid support packages and eeesh it has left us in a very bum-clenched situation.
Since the beginning of the pandemic, we have run hundreds of free online workshops and courses for writers stuck in covid hell and worked our little butts off to make sure no one missed out on the community they needed during the weird-ass timeline we forked into in early 2020.
Last year, we awarded over 20 bursaries to systemically excluded writers, ran 312 webinars and workshops, and saw our writers wrack up over 200 publications and 50 long listings, shortlisting, and competition wins. One longlist had TEN Writers’ HQers on it, and one anthology featured SEVEN of you writerly maniacs.
But it’s not just about the publications. It’s about DOING THE WORK and hoo boy have you guys worked your arses off. We’ve seen you wrack up those words, complete first drafts, fifth drafts, synopses, queries, collections, scripts, poems, a billion pieces of flash fiction, non-fiction, articles, journals, MA applications, podcasts, spoken word performances, self-published manuscripts, NaNoWriMo drafts and, most important of all, you’ve posted an endless stream of support and feedback on our forum, celebrating wins and rejections alike.
We love Writers’ HQ and we know it’s an important place for so many of you and we are determined that we won’t be scuppered at the final twist of the pandemic shitfight.
Tl;dr Writers’ HQ is really in the shits right now and if you have the resources to help us continue supporting writers across the world, we would very much appreciate it.
We’re not a megacorp that can suck up the losses of the last 18 months. Writers’ HQ is a labor of love run by Sarah and Jo and Natalie (and Poppy and the rest of the amazing workshop team) from our living rooms and dining tables because we believe the writing of stories should be accessible to everyone regardless of ability, class, neurodiversity or wealth, not just the rarified types normally allowed by the publishing gatekeepers.
So. If you can, there are three ways you can help us right now:
1
BECOME A MONTHLY WRITERS’ HQ MEMBER
Not only does your monthly sub give you access to like the best writing community and courses and workshops in the ENTIRE WORLD EVER PLUS ONE but it is the best way to support us right now, and it helps us to continue offering plenty o’ free stuff for those who need the free stuff. Get your membership here >> 2
DONATE TO THE WHQ BURSARY
Our bursary pot helps us to give systemically excluded writers access to all our writing resources. Top up the pot! >>3
SPREAD THE WORD
Don’t keep us to yourselves! We’re too good to be a secret! Tell everyone you know about Writers’ HQ and let them see for themselves what awesome-sauceome writerly goodies we have to offer. If you have a website, please consider putting a link on it pointing to us, or just spam your friends demanding they check us out. www.writershq.co.uk
Ok, we’re done. No gif this month but show us you’ve made it this far by posting this beautiful I LOVE WRITERS’ HQ image over on Twitter, Instagram, Facebook, Pinterest, LinkedIn, and any other network you happen to be on. THANK YOU WE ALSO LOVE YOU MWA MWA.
ok we’redonestaysafeloveyoubyeeeeeee*We love the Arts Council and think they do amazing work. We’re just understandably pissed off about this particular thing.
Starting in 2016 when I retired, I began posting my work on various sites and began getting my poetry, fiction, and essays published all over, including of course on my flagstaff blog post, The World According To Cosmos. Here is where you can find my work. I generally try to update my postings once a week. The blog entry is copied to LinkedIn, Twitter, and Tumblr automatically, the rest I have to manually add so it may take a while before everything is in synch. Also, since last summer, I have been podcasting weekly, using the Anchor podcast platform. I am now also writing on Medium and Wattpad. Starting next year, I hope to add regular vblogging on YouTube, advice on what software to use for that would be greatly appreciated. Please follow me on all these sites
Imaging The End Of The World Ariel Chart: International Literary Journal
No More Coffee Blues Ariel Chart: International Literary Journal
What Am I DNA Results Ariel Chart: International Literary Journal
End Times Ariel Chart: International Literary Journal
Imagining End Of The World Ariel Chart
Just Another Night In The City Of Angels Ariel Chart
The Revolution Is Coming Beatnik Cowboy, The
I’d Rather Not Mess With Sam Between Hangovers
A Million Ways To Say I Love You Blessed With Love Poems
I Still Want You Blessed With Love Poems
Ode To Valentine Day Blessed With Love Poems
Love Explained To A Space Alien Blessed With Love Poems
Slime Patrol To The Rescue Blue Nib Literary Magazine, The
The Fog Blue Nib Literary Magazine, The
Dream Girl Cherry-House Press Dreams Anthology
Dream Girl Chicken Soup For The Soul Series
Chains That Bind Me City Limits Publication
Dream Girl City Limits Publication
Various Creative Talents Unleashed
How I Married the Girl Of My Dreams Creativity Webzine
Meeting God in The Lake Creativity Webzine
Cosmic Cat from Berkeley Creativity Webzine
Meeting God in Bombay Creativity Webzine
Cosmic Dog from Goa Creativity Webzine
Buddha Cat Creativity Webzine
The Story of How We Met Creativity Webzine
Fate Intertwined Creativity Webzine
Wild Things Happen Creativity Webzine
God Drinks Coffee Creativity Webzine
Requiem for an Era Creativity Webzine
Howling at the Moon Creativity Webzine
Creativity Webzine
The Truth Shall Set You Free Creativity Webzine
My Name Is Nobody Down In The Dirt
Strangeness In The Air Down In The Dirt
Snarling Cup Of Coffee Down In The Dirt
Charles Bukowski Road Not Taken Down In The Dirt
Fallen Dreams Litter The Ground Down In The Dirt
Hitchhiking Tales Down In The Dirt
Howling at the Moon Down In The Dirt
3-5-7 Love Poem Down In The Dirt
If You Have Been Around Down In The Dirt
Foreigner Walking The Seoul Wall Down In The Dirt
Old Man Visiting His Wife’s Grave Down In The Dirt
Awaiting The Judgement Every Writer Horror Contest
Mad Bag Piper Of Berkeley Every Writer Horror Contest
Coffee Poem
Bad Craziness *
Kimchi Blues Eskimo Pie
Kimchi Blues Friends of Korea website
A New Year’S Visit To The Oregon Coast Excavation
Casino Thoughts Excavation
Winter Haiflu Failed Haiku
Indian Casino Thoughts Fiends Of Korea
Lone Foreigner Walking The Wall Of Seoul Former People, a Journal of Bangs and Whimpers
A New Year’s Visit To The Oregon Coast Former People: A Journal Of Bangs And Whimpers
Indian Casino Thoughts Former People: A Journal Of Bangs And Whimpers
Casino Thoughts Former People: A Journal Of Bangs And Whimpers
Former People: A Journal Of Bangs And Whimpers
Four Coffee Poems Former People: A Journal Of Bangs And Whimpers
Four Coffee Poems Former People: A Journal Of Bangs And Whimpers
Four Coffee Poems Former People: A Journal Of Bangs And Whimpers
Four Coffee Poems
Fiction Dream
Fiction Dream
Corona Virus Haiku Fiction Dream
Fiction Dream
Just Enough For Coffee
One Moment, One Day Fourxfour Poetry Journal
Met My Fate In Bar Room Face From Addict To Advocate
Various Haiku Journal
Hill Rag Hello Bonzai
One Night In Bombay Hello Poetry
Cosmic Cat Ode To Coffee
Cosmic Dogs
Meeting God In A Lake Horror Sleaze Trash
Meeting God In Bombay
Signs Of The Apocalypse Hypertexts, The
Hypertexts, The
Getting Lucky Hypertexts, The
Waiting For The Day Hypertexts, The
Rising Storm Hypertexts, The
All Tired And Burned Out 2020 Go Away
Toilet Gate Fitting Metaphor For Trump Era Ink Pantry (Website)
A Dream Journey Ink Pantry (Website)
Insanity Lives Ink Pantry (Website)
Interview Ink Pantry (Website)
Morning Bright, Evening Delight Ink Pantry (Website)
Reality Hits Ink Pantry (Website)
Cheating Death 22 Times Ink Pantry (Website)
Cheating Death 22 Times Ink Pantry Acadamy of Hearts and Minds ‘
Cthulhu’s Revenge Ink Pantry (Website)
Escape From Hell Ink Pantry (Website)
Ghoul Haunted Woodlands Of Weir Ink Pantry (Website)
The Bench Ink Pantry (Website)
2019 The Year That Was Ink Pantry (Website)
Dreams Ink Pantry (Website)
Fate Ink Pantry (Website)
The Oyster Speaks Up Ink Pantry (Website)
The Terrifying Teens Ink Pantry (Website)
Ink Pantry (Website)
Just An Unhinged Lunatic Ink Pantry (Website)
Ink Pantry (Website)
Total Successor Or Total Failure Ink Pantry (Website)
2021 Haiku
General Corona Appears In A Vision Inner Circle Writers’ Group Anthology Series
Cancel Culture Run Amuck
Journal Of Expressive Writing
Journal Of Expressive Writing
Ghosts Of Old Saigon Journal Of Expressive Writing
Ghosts Of The Chu Chi Tunnels Journal Of Expressive Writing
Seeing Ghosts
The Cosmic Cat From Berkeley
The Cosmic Dog From Goa Kelp Journal
Cosmic Cat Kelp Journal
Kelp Journal
Agnostic Dyslectic Wonders If There Is A Dog Kelp Journal
Cosmos’s Cosmic Calendar Kelp Journal
It’s A Dog’s Life For Me Kelp Journal
The Cosmic Dog From Goa
2021 Dawns 21 Haiku Literary Yard
Dear Republicans, What Is Wrong With You? Literary Yard
The Revolution Next Time Literary Yard
Zombie Ideas Do Not Die Literary Yard
There Is A Great Sense Of Unrest Literary Yard
Lone Foreigner Hiking The Seoul City Walls Literary Yard
Literary Yard
Literary Yard
Dream Love Questions Sekoku Local Gem
15 Day Challenge Local gem
Halloween poetry collection Local Gem
Dear Microsoft Why I Left You Lotus Eater
Local Gems Poetry Press
A Million Ways To Say I Love You Blessed with Love
Ode To Love On Valentine’s Day Blessed with Love
One Night in Bangkok Man in the Street
Market Rules Us All Minnie’s Diary: A Southern Literary Review
White Lady
The Opiate
God’s Confession Scarlet Leaf
Opiate
Bad Craziness
Otherwise Engaged
Cats
In Seach Of America Outlaw Poetry
It Is A Gun Situation, Mr. President Outlaw Poetry
Prayer Works Outlaw Poetry
I Don’t Get It Outlaw Poetry
Dear Governor Abbot Outlaw Poetry
When Will This Madness End – Short Version Outlaw Poetry
Lost And Found Outlaw Poetry
My Mother’s History Outlaw Poetry
Conversation With Teddy Roosevelt Outlaw Poetry
Watching Cats Hunt Outlaw Poetry
End Of America Outlaw Poetry
Watching The News As 110,000 Americans Die Plethora Blogazine
Wearing A Mask Is Not A Political Statement Plethora Blogazine
Wearing Masks Saves Life Plethora Blogazine
Who Are You Going To Believe, Me Or Your Lying Eye Plethora Blogazine
Back Of The Bus The Poet on the Road
Bus Ride The Poet on the Road Poet The Poet on the Road
Cross Country Trip Part One The Poet on the Road
Hitchhiking Tales The Poet on the Road
Buddha Cat Poet, The
Meeting God In A Lake Poet, The
Best Friend For 60 Years Poet, The
My Memory Bank Poet, The
Best Friend In The Universe Poet, The
Cats Poetryezine
Buddha Cat Poetryezine
Sitting On The Dock Of The Bay Poetryezine
Walking By A Winter’s Frozen Lake Poetryezine
Playing The Piano At The End Of Time Poetryezine
Mad Mask Fear Poetryezine
News Is Grim Poetryezine
Poetry And Covid
Various Poetry And Covid
Snarling Cup Of Coffee Chapbook Poetry Nook Weekly Contest
Merry Christmas From ATT Poetry 24
Mr. President, It Is A Gun Situation Poetry 24
Poetry 24
The Best Is Yet To Come Found Poem Poetry 24
Evergreen Trees Pure Haiku
Falling Rain Qutub Minar Review
Qutub Minar Review
Gathering Storm Clouds Random Poetree
Nebulous Night Of Darkness Random Poetree
Dejavu All Over Again Random Poetree
Failure Is Not An Option Random Poetree
General Failure Reading Disk Drive Raven Cage Zine
On Failure Raven Cage Zine
Raven Cage Zine
270,000 Corona Ghosts Crash The President’s Party Raven Cage Zine
Corona Ghosts Crash The Party Raven Cage Zine
Partying While People Die Raven Cage Zine
Fake Calls Rejected Manuscripts
Hell Is Here To Stay Rejected Manuscripts
Rejected Manuscripts
Fake Mosquitos
Lost River Sandha Review
Old Cars Are King Of The Road Again River Sandha Review
Reflections Rosette Maleficarum
Dragon Flies In My Mind Rosette Maleficarum
One Crazy Day Rosette Maleficarum
2019 The Year That Was Rosette Maleficarum
Dreams Scarlet Leaf Review
Fate Scarlet Leaf Review
The Oyster Speaks Up Scarlet Leaf Review
The Terrifying Teens Scarlet Leaf Review
Scarlet Leaf Review
Green Trees Don’t Make It Scarlet Leaf Review
Slowly Unperceived Reality Scarlet Leaf Review
Slowly Unperceived Reality Scarlet Leaf Review
Brain Fever Scryptic defunct
Evil Within Scryptic defunct
Mocking Laughter Scryptic defunct
Black Vultures Scryptic defunct
Green Trees Don’t Make It Sick Lit Magazine
Siren Song Of Doom Sick Lit Magazine
Various Sixfold
Corona Poems Soft Cartel
Dora The Galactic Explorer Soft Cartel
Every Day I Turn On The News
Chaos Spillwords Press
Mocking Faces Spillwords Press
Just Enough For Coffee Spillwords Press
Waiting For The Grim Reaper’S Decision Spillwords Press
The Virus King Cried Subterranean Blue Poetry
Cosmic Cat From Berkeley Swenk
Cats Swenk
The Buddha Cat Of Edsall Road Swenk
Demon Cat Swenk
Cat Fight In Incheon Swenk
Love Haiku The Universe Journal
Night Terrors The Universe Journal
Jack Daniels Failed Intervention Unlikely Story
The Trial Of The Poet Tiger Shark
Life In-Between Tiger Shark
Love Haiku Tigershark
I Like My Coffee Tigershark
Love Haku 1 Tigershark
Lost And Found Tigershark
The Virus King Cried Tigershark
1984 Is Here To Stay Tuck
The Dogs Of War Are Howling Tuck
Just Enough For Coffee Tuck
Donald Trump And The Vulgarians Rise To Power Tuck
Lost And found Two Drops Of Ink
Strong Wine Two Drops Of Ink
Voices Of My Doom Two Drops Of Ink
Dora The Galactic Explorer Two Drops Of Ink
Last Year Of American Greatness Two Drops Of Ink
Mocking Faces Two Drops Of Ink
Morning Light Two Drops Of Ink
Wild Man Sits In Gilded Cage Two Drops Of Ink
Climate Change Two Drops Of Ink
The Lion King Speaks Up Two Drops Of Ink
Wild Things Run Amuk Two Drops Of Ink
Wild Things Run Amuk Two Drops Of Ink
Yesterday Morning Two Drops Of Ink
Howling At The Moon Two Drops Of Ink
No More Coffee Blues Two Drops Of Ink
Ode To Coffee Two Drops Of Ink
Slease 2 Two Drops Of Ink
Snarling Cup Of Coffee Ugly Writers, The
When Will This Darkness End Ugly Writers, The
Ugly Writers, The
Buddha Cat Universe Journal, The
Cats Universe Journal, The
Cats Fighting In Incheon Universe Journal, The
Cosmic Cats Universe Journal, The Universe Journal, The
Demon Cat Universe Journal, The
Best Friend In The Universe Whispers Defunct
Life’s Journey Whispers Defunct
Life In Between Whispers Defunct
News Is Grim Writer’s Egg Magazine
Wearing A Mask Is Not A Political Statement Writer’s Egg Magazine
Corona Ghosts Crash The Party Writer’s Egg Magazine
Politicians Lying As People Lay Dying Writer’s Egg Magazine
Thanksgiving Thoughts Writer’s Egg Magazine
Writer’s Egg Magazine
American Dream Writer’s Egg Magazine
Miscellaneous Publication Sites Writer’s Egg Magazine
Writer’s Egg Magazine
3 Am Nightmares
Your One Phone Call
Coffee Desires Miscellaneous Publication Sites
God Does Not Talk To Idiots Triferta Poem A Thon
Huricanes From Hell Triferta Poem A Thon
It Can’t Happen Here Triferta Poem A Thon
Kim Vs. Trump Twitter War -In Memorial Of Kim Il Sung’s The Great Leader’s Birthday Triferta Poem A Thon
Masters Of The Universe Triferta Poem A Thon
Microsoft How I Hate You Triferta Poem A Thon
More Coffee Blues Triferta Poem A Thon
No More Coffee Blues Triferta Poem A Thon
Triferta Poem A Thon
Rambling Man Triferta Poem A Thon
Rambling Man -Where Do I Belong? Triferta Poem A Thon
Rapid City Nowhere Triferta Poem A Thon
Suburban Laundromat Blues Triferta Poem A Thon
The Storm Is Coming Triferta Poem A Thon
Facing Life’s Challenges Together Triferta Poem A Thon
Fires Buring Bright Triferta Poem A Thon
God Drinks Coffee Triferta Poem A Thon
Imagining End Of The World Triferta Poem A Thon
Incheon 2016 Triferta Poem A Thon Triferta Poem A Thon
Looking Out My Window Triferta Poem A Thon
Lost And Found Triferta Poem A Thon
My Soul Wants To Fly Triferta Poem A Thon
Rapid City Nowhere Triferta Poem A Thon
The Revolution Is Coming Triferta Poem A Thon
Wagontire, Oregon Triferta Poem A Thon
Walking Through The Woods Of Time Triferta Poem A Thon
Zombie Apocalypse Triferta Poem A Thon
Heading To Memphis Triferta Poem A Thon
One Mystic Shrouded Night Triferta Poem A Thon
Idiots In High Places Triferta Poem A Thon
Cosmos’s Cosmic Calendar Triferta Poem A Thon
. Landlord Blues Triferta Poem A Thon
. Berkeley California Triferta Poem A Thon
. Chains That Bind Us Triferta Poem A Thon
. Changes Triferta Poem A Thon
. Coffee Revolution Triferta Poem A Thon
. COSTCO Triferta Poem A Thon
. Dental Torture Blues Triferta Poem A Thon
. Emperor Donald The Ist Triferta Poem A Thon
. Everything Will Be All Right Triferta Poem A Thon
. Ghosts From World War 11 Triferta Poem A Thon
. Life Is Wonderful Triferta Poem A Thon
. Lithia Springs Triferta Poem A Thon
. Love Jones Triferta Poem A Thon
. My Daily Hot Coffee Fix Triferta Poem A Thon
. No More Coffee Blues Triferta Poem A Thon
. Pane E Circus 2017 Redux Triferta Poem A Thon
. Sandwich Choices Triferta Poem A Thon
. Secret Agency Man Triferta Poem A Thon
. The Decline Of America Triferta Poem A Thon
. The Dogs Of War Are Howling Triferta Poem A Thon
. Voices Of My Doom Triferta Poem A Thon
. Walls Triferta Poem A Thon
. Watching Cats Hunt Triferta Poem A Thon
. Where Do You And I Begin? Triferta Poem A Thon
. Why I Am Not A Christian Easter Thoughts Triferta Poem A Thon
. August Moods Triferta Poem A Thon
. Capitol Hill In The Spring Triferta Poem A Thon
. Spring Love Thoughts Triferta Poem A Thon
. Spring Time In Oregon Triferta Poem A Thon
. The Falling Rain Triferta Poem A Thon
“Dental Blues” Triferta Poem A Thon
“Meeting God In The Lake” Triferta Poem A Thon
“The Cosmic Cat In Berkeley” Triferta Poem A Thon
“The God Dog In Goa” Triferta Poem A Thon
Lost And Found Triferta Poem A Thon
1984 Lives On Triferta Poem A Thon
Decline Of America Scarlet Leaf Review
Dogs Of War Howling Scarlet Leaf Review
My Mother’s History Scarlet Leaf Review
Donald Trump And The Vulgarians Rise To Power Tuck
Imagining The End Of The World Tuck
No More Coffee Blues * Hill Rag
A Million Ways To Say I Love You Blessed Love Poems
American Dream Your One Phone Call
Best Friend In The Universe Whisphers
Black Vultures Scryptic
Additional Publication Vendue Need to be Confirmed
Conversation With Teddy Roosevelt
Strong Wine
Watching Cats Hunt
Dragon Flies In My Mind
The Shape Of History
Voices Of My Doom
Cats
Rapid City Nowhere
Reflections
. Yesterday Morning
Suburban Laundromat Blues
Blue Blues
Brain Fever
Capital Hill In The Spring
Cats Hunting
Chains That Bind
Charles Bukowski Road Not Chosen
Coffee My Secret Lover
Coffee Revolution
Coffee The Drink Of Revolutionaries
Confucian Thought For The Modern Era
Decline Of America
Dogs Of War Howling
Donald Trump Our Compassionate Dear Leader
Dream Girl
Enemy Of The People
Fallen Dreams Litter The Ground
God Drinks Coffee
How I Married Girl Of My Dreams
Howling At The Moon
I Like My Coffee
Jesus Must Die Again
Lost And Found
Donald Trump And The Vulgarians Rise To Power
Strong Wine
The Shape Of History
Yesterday Morning
Corona Ghosts Stalk The President
Corona Virus Stalks Me
General Corona Leads His Troops
A New Year’S Visit To The Oregon Coast
Love Conquers Hate
Bus Fantasy
Snarling Cup of Coffee Chapbook Poetry Superhighway
April 2021 chapbook Poetry Superhighway
Writers Digest April 2021 contest
April 2020 contest
All poetry
Duane’s poetry
Fan story
Poetry Circle
Hello Poetry
Poetry Nook
Poetry Mangum Opus
Sweek
Writing com
I will year try to finish reading classic books. I have a collection from Kindle of 50 books to read before you die, in three volumes – 15O books in total see list below. I have read many of them already which I have noted. As I read them, I will add them to the chronological listing below.
Glass by Robert Francis Writing com
Blue Winter by Robert Francis Writing com
encounter writing com
Where I Belong – Contest winner Feb 24, 2021, writing com
Edna St. Vincent Millay -Pastoral writing com
Lorraine Marguerite Gasrel Black -Pastoral Rhapsody writing com
Daniel Miltz -Pastoral Day writing com
Henry Kirke White -A Pastoral Songwriting com
Carl Sandberg Passers-By
Poetry Corner, writing com Poetry corner
Randall Jarrell The Olive Garden Writing com poetry
Randall Jarrell The Breath of Night Writing com poetry
Randal Jarrell The Orient Express Writing com poetry
Abdul Ala armada Rafi I poem Friend, this world is like an unburied corpse
Ali Ahmad Saeed poem
Alton David translation of a man and a woman white
Andre Breton Man and Woman Absolutely White
Mary Bernard, translation of Sofia he is more than a hero
Ingeborg Bachman poem
Anne Bradstreet letter to her husband 1650 first Published woman poet in The US
Willis Barnstone translation of Mother’s song if snow
Charles Bernstein writing exercises
William Blake Sick Rose
Elizabeth Browning Sonnets from The Portuguese #43 how Do I love Thee
Elizabeth Bishop one art Britain
Andre Carter Stephen D translation lady is shichimi if someone would come
William Barnstone she is at island me turn off
Maxine Chernoff writing exercises
Chilam Balam poem
Chiyo various lines
William Corbett Vermont Apollinaire
Robert Creely The business
EE Cummings In Jest
Bel Dao Listen, I Don’t Believe Chinese poet mid-20th century
David Wagner lines and since a call since Elam since summer
Thomas Campion When to her lute Corinna sings
Jon Donne Holly Sonnet 14
Lucile Clifton, I don’t know how to do
Emily Dickinson lines and poems 214
Emily Dickinson poem 262
Emily Dickinson poem 640
Emily Dickinson poem 986
Emily Dickinson poem 1732
Enhenduanna The Exaltation of Inanna, antiphonal Hymns Praise of Inanna
Egyptian Poem, untitled
Fanny Howe About Face
Imr El Quais The Great Ode
Elaine Feinstein excerpt from translation Marina TSvetayeva poems of The end Lawrence Ferlinghetti excerpt from constantly risking absurdity Coney Island of The mind
Donald Finkel excerpt from a translation of Bel Dao
Roberts Elizabeth silent poems
Frances Kathleen vanishing point third black quartet from Wayne
Robert Frost Nothing Gold can stay
Robert Clark translation departure by Pierre Reverdy
Jorie Graham In what matter is The body united with The soul
Barbara Guest Lines from red lilies
HD Dread
HD Sea Rose
HD Oread
Allen Hibbert translation of Adonis desire moving through The Maps of The material
Ronald Hoffman excerpt from deceptively like a solid
Kelly Holt writing exercises
Bible, Ecclesiastes for everything There is a season
Homer Odyssey
Homer Iliad
Edward Arlington Robinson Richard Corey
Fanny Howe About Face
George Herbert Death
Linda jarkesy The bed
John K
Randall Jarred The death of The Bell turret gunner
John Keats The Eve of St Agnes
Lao Tzu Rule a Large Nation
DH Lawrence Bavarian Gentians
LiPo Moonlight Pools
Liu Tsung-yuan From One thousand mountains
Audre Lorde lines from coal
Hugh MacDiarmid Another epitaph on The army of mercenaries
Jackson Mac Lou excerpt from antic quartans
Omar Khayyam Rubaiyat excerpt
Alexander Pope Essay on Criticism
Bernadette Mayer writing exercises
WS Merwin excerpts from leviathan
Pablo Neruda leaning into afterworlds
Pablo Neruda and walking around
John Milton excerpts from Allegro
John Milton excerpts from paradise lost
Mariana Moore experts from the monkeys
Laura Moriarty The mouth
Bridge Mullins writing exercises
Ellen Myles honey bear
Lorraine Niedecker now in one year
Charles North excerpt from shooting for line
George Oppen excerpt from psalm
Dorothy Parker resume
Bob Pearlman speaker vibrates through the entire house after from AK
Ezra Pound in a station in The Metro
David Ray translation lines from Chiyo
Kenneth Rexroth translation of Midnight songs
Pierre Reverdy Departure
Christopher Sawyer Le is More Than an Hericenone translation Flight of The Itza
Dominion Searls translation of a kind of loss
Shelly Love Philosophy 19th Century
Sappho He is more than a Hero
Jack Spicer lines for imaginary elegies part 1-111
John Tipane translation Abu Hamza al online from this world
Dante in the middle of the road
Anonymous Egyptian poem only one matchless sister
manioc If snow falls on the left field
Issa Morning
Beowulf soon saw
Homer Then wide ruling Agamemnon
Homer infinite terror
Homer wars spears
In El Qis here was the place I watched her
Arthur Rimbaud Bateau Ivre if I desire
Arthur Rimbaud memory
Arthur Rimbaud longing for young arms
Rig Veda There were no such things
Sappho The moon has set
Charles Thomasson lines from Mr. Birdy
David Trinidad monster mash
TS Elliot Excerpt from The Wasteland
Mariana Tsvetanyana Poem of The End
Alfred Tennyson Now Sleep the Crimson Petal
Anne Waldman excerpt for Iovis 19
William Carlos Williams except for The descent
Walt Whitman excerpts from Leaves of Grass
William Butler Yeats the second coming
William Wordsworth The Solitary Reaper
Louis Zukofsky in Arizona from 729 songs
Richard Lovelace 17th Century British Poet, “To Lucasta, Going to War”
Geoffrey Chaucer 1400 Call complaint to His Purs (Purse)
Parody Poems from NaPoWrMo April 27 Prompt
Lewis Carroll Crocodile
Isaac Watts How Doth the Little
Lewis Carroll This the Voice of The Lobster
Isaac Watts The Sluggard
Lewis Carroll Twinkle, Twinkle Little Bat
Other poems from Writing com and Elsewhere
Abandoned Farmhouse
by Ted Kooser Wooden Boats
Judy Serum Brown
Denise Levertov Celebration
Edgar Allan Poe A Dream Within a Dream
Poetic blooming
Heal The World with Marigolds poetic blossoming entry
Midnight encounters a poetic blossoming entry
David S The All-Mighty Thresher
Sally Ann Roberts example #1:it All Started with A Packet of Seeds
William Seaman Higgledy-piggledy
Arthur W. Monks Higgledy-piggledy
Paul Pascal
Higgledy-piggledy
stink in God’s nose.” by Anthony Hecht
Higgledy-piggledy
scraped off The tracks. by John Hollander
“Higgledy-piggledy
Andrea Doria
GLUB”. . . (end of quote). by John Hollander
The dactyl meter is a three-syllable foot with a stress pattern of DUM-da-da, as explained and demonstrated in The following link: https://literarydevices.net/dactyl/
Example #1: The Charge of The Light Brigade (By Alfred Lord Tennyson)
Example #2: Evangeline (By Henry Wadsworth Longfellow)
Example #3: The Lost Leader (By Robert Browning)
Example #4: (Out of The Cradle Endlessly Rocking (By Walt Whitman)
Example #5: Higgledy Piggledy (By Ian Lancashire)
Sidney Lanier The Song Of The Chattahoochee
Sidney Lanier (Written for The Art Autograph during The Irish Famine, 1880.)
Sidney Lanier A Sunrise Song “Where Grandpa Died”
Robert Hayden ~” A Plague of Starlings”
Robert Frost ~” The Road Not Taken” by Robert Frost{/pre}
Jack Kerouac Daydreams for Ginsberg
Mini-Monoverse and Double Mini-Monoverse
How Many Times? Emily
Louisa May Alcott
The Short Story A Christmas Dream, And How It Came True
Louisa May Alcott
The Rock and The Bubble
Louisa May Alcott
The Short Story Shadow-Children
Marcus Manilius Sagittarius
Rudyard Kipling’s Centaurs
Mary Swenson The Centaur
ODES
Genethliacum Ode, is a poem written in honor of the birth of a child. Usually, these lofty odes were reserved for the birth of nobility. However, technically any poem written in honor of the birth of a child would qualify as a Genethliacum.
Love set you going like a fat gold watch.
The midwife slapped your footsoles, and your bald cry
Took its place among the elements.
Our voices echo, magnifying your arrival. New statue.
In a drafty museum, your nakedness
Shadows our safety. We stand round blankly as walls.
I’m no more your mother
Than the cloud that distills a mirror to reflect its own slow
Effacement at the wind’s hand.
All night your moth-breath
Flickers among the flat pink roses. I wake to listen:
A far sea moves in my ear.
One cry, and I stumble from bed, cow-heavy and floral
In my Victorian nightgown.
Your mouth opens clean as a cat’s. The window square
Whitens and swallows its dull stars. And now you try
Your handful of notes;
The clear vowels rise like balloons.
Encomium or Coronation Ode is a Greek choral lyric celebrating a person’s achievements. This can be expanded to the length and formality of an ode as in honor of the coronation of a king, but most often is a simple poem as would be spoken at a banquet in an introduction in the category of occasional poetry. It specifically celebrates a man rather than a god. This genre of verse usually has 5 elements, prologue, birth and development, accomplishments, comparisons with which to praise, and an epilogue.Just a Man
Palinode Ode is an apologetic ode, that retracts or recants something said in a previous poem by the same poet. It is usually written as a retraction of an invective statement or offensive remark made in satire.
Geoffrey Chaucer wrote a palinode at the end of the Canterbury Tales, recanting and apologizing for any bawdy or offensive statements previously made. It is really unclear if this palinode was part of the original Tales or if it was tacked on later as either an advertisement of his works or as a death bed confessional.
Wherfore I biseke yow mekely,
for the mercy Of God, that ye preye
for me that crist have Mercy on me
and foryeve me my giltes; and Namely
of my translacions and enditynges
of Worldly vanitees, the whiche I revoke
in My retracciouns:as is the book of Troilus;
the book also of Fame; the book of
The xxv. Ladies; the ;
The book of seint valentynes day
of the parlement of briddes; the tales of counterbury,
Thilke that sownen into synne; the book
of the Leoun; and many another book. This was found at Wikipedia.
Panegyric or Paean is an ode that celebrates something from its inception or the life of a person, not just the accomplishments. It is usually written about someone still alive and celebrates the who rather than the what of the person. “Paean” should not be confused with the metric foot “paeon”.
Triumphal Ode, is an ode to celebrate a victory. Also called an Epinicia when specifically celebrating a sports victory. The Epinician Ode said to be created by Simonides of Ceos, Greek lyrical poet, 556BC to 468BC though the most prolific user of the theme was Pindar of Pindaric Ode fame. Originally written to honor a victor the Hellenic games and sung in a procession for the winner and connecting him with a great hero of the past. The frame at the discretion of the poet. Victory by S.J. Duncan-Clark
The Chicago Evening Post, November 11, 1918 Great Poems about the World War
OUT of the night it leaped the seas–
—The four long years of night!
“The foe is beaten to his knees,
—And triumph crowns the fight!”
It sweeps the world from shore to shore,
—By wave and wind ’tis flung,
It grows into a mighty roar
—Of siren, bell and tongue.
Where little peoples knelt in fear,
—They stand in joy today;
The hour of their redemption here,
—Their feet on Freedom’s way.
The kings and kaisers flee their doom,
—Fall bloody crown and throne!
Room for the people! Room! Make room!
—They march to claim their own!
Now God be praised we lived to see
—His Sun of Justice rise,
His Sun of Righteous Liberty,
—To gladden all our skies!
And God be praised for those who died,
—Whate’er their clime or breed,
Who, fighting bravely side by side,
—A world from thraldom freed!
And God be praised for those who, spite
—Of woundings sore and deep,
Survive to see the Cause of Right
—O’er all its barriers sweep!
God and the people–This our cry!
—O, God, thy peace we sing!
The peace that comes through victory,
—And dwells where Thou art King.
Mary Elizabeth Coleridge Death and the Lady
Canon Dixon’s Last Poems in 1905.
Mary Elizabeth Coleridge The Other Side of a Mirror
Mary Elizabeth Coleridge After St. Augustine
One of my “guilty pleasures” is reading my favorite writer, Stuart Woods. Boy, can the dude pump them out! In the last count, he has written over 80 books almost all of the best sellers and he has been pumping out one to two a year since he first got published in the late ’70s.
He started out writing “Chiefs” which became a movie as well. The main character is a police chief in a small town in Georgia. The character reappears in many later novels, eventually becoming a two-term president, and in town, Delgado also appears as a place in many of his later novels. Most of his novels are set in NYC, Maine, Key West, Los Angeles, and Santa Fe, New Mexico.
Most of his books feature the exploits of Stone Barrington, an NYC high-society type who is a James Bond-like character. He is a retired NYC cop, a lawyer, a real estate investor, a part-time CIA agent, and a player with many love interests. He is also best friends with three presidents and the not-so-secret lover of the current President. He introduced me to Knob Creek bourbon which is now one of my favorite bourbons, and he is also partial to Martinis-made James Bond style.
In this alternative universe, the President serves two terms, his wife serves two terms, and her secretary of State is elected President. Stone is friends with them all.
Stone’s best friend is Dino Bachetti, his old NYC homicide partner who became NYC Police Commissioner and helps Stone out officially and unofficially over the years. He has had a lot of love interests including Holly Barker who was a former secretary of state and president.
Another recurring character is Ed Lee who is a friend of Stone who lives and works out of Santa Fe New Mexico. Ed Lee is a 6’8 former college basketball player who becomes an attorney.
My only criticism is that his books are very formalistic. At some point, someone is going to be able to program a computer to write novels and his novels would be a great place to start because I am sure that a computer could generate believable Stone Barrington novels. Having said that, his novels are still enjoyable.
He has written a few non-Stone Barrington novels stand-alone novels. One I enjoyed recently was Palindrome which is a psychological thriller set on an island off the South Carolina coast. Written in the mid 90’s I believe.
I often start a novel of his while waiting around in the PX for my wife to finish up, and throughout several visits, often finish the novel.
The following is a list of his novels, I bolded the ones I have read. One of my bucket list reading goals is to finish reading all of his novels.
The list
Stuart Woods Books in Order (Bold indicates I have read it)
Stuarts Woods is an American novelist. He was born in Georgia in 1938 and graduated from the University of Georgia in 1959. He then enrolled in the National Guard before moving to New York to start a career in Advertising.
He then moved to London and spent a further 3 years working in advertising before deciding that he wanted a change and he began writing his first novel. It is at this time that he decided to move to Ireland where he lived a solitary lifestyle, only leaving his home to make money writing adverts for local television.
Sailing
Woods moved to Ireland in the 70s and this was where he fell in love with sailing. He spent many years competing in sailing competitions and learning how to be a better sailor. He finally bought his boat when his grandfather died and left him some money, so he could afford it. It was then that he took sailing more seriously and spent most of 1974 learning more about sailing.
Writing
Woods began writing about his experiences in his yacht races and he was published in 1977, with the book Blue Water, Green Skipper. It seemed like he had found an ideal career based on the thing he loved most, sailing.
Changing Plans
His second book was supposed to be about another boat race that he was due to take part in, but the race was canceled due to inclement weather, so he decided to drive around the UK and write a book about his adventures in the county inns.
Chiefs
Woods then went on to write his first novel called Chiefs. He made the mistake of selling the book to publishers unfinished because he thought he would have gotten a lot more for it had he waited until the book was finished.
Norton was the company to publish the hardback, but he felt like the company let him down because they didn’t do much to promote the book. He then contacted Bentham Books, who published the paperback and it was much more successful.
Note: the main character resurfaces in the Stone Barrington novels as a politician and eventually two-term president. his wife then serves as president after he retires.
Charlton Heston
In 1983, the book was made into a tv series starring Charlton Heston and Danny Glover. It was aired by CBS over three nights and it ended up being nominated for three Emmy Awards.
The popularity of the tv show meant that more people wanted to read the books and there was renewed interest in the paperback version of the books and Woods won the Edgar Award for the Best First Novel.
Series Over Standalones
Woods is one of those authors who are more focused on the series of novels over the standalone. His most popular series is the Stone Barrington Novels. He has just released his 27th novel in the series and he has written 3 more novels, which are set to be released in 2014.
Who is Stone Barrington?
Stone Barrington is a counsel for a law firm. After he finished college, he joined the police and served 14 years on the force. He left after disagreeing with his superiors and then got a job with the law firm. The novels tell the story of his exploits so far.
In the Stone Barrington novels, Woods is often congratulated for getting the law procedures correct when he has no background in law himself. It is noticed a lot and one fan asked how he gets it all right. He indicates that he is a massive fan of law procedurals such as LA Law and Law & Order, so gets all of his knowledge from there. He has made a few friends who are Lawyers, so if he gets anything wrong, they tell him.
Holly Barker
Holly Barker is a character in another series of books that he writes. She is an ex-army officer and navy brat. She left the army because of a sex scandal and she has to learn how to live a civilian life. She begins her new life as the Chief of Police and she learns just how dangerous her new life is.
Update: she eventually becomes Stone Barington’s main love interest, joines the CIA and becomes Secretary of State and later the second Female President. These are all chronicalled in the Stone Barington Novels, the Holly Barker novel focus on her earlier life as the chief of police. end updated note
Even though Woods has written several series, which focus on the life of a single character, the characters from each of the novels do crossover into other series. For example, Stone Barrington appears in the second Holly Barker novel and he also appears in the second novel of the Rick Barron novels.
Rick Barron
The Rick Barron novels are only two books deep at the moment. Rick Barron was a police detective and he was demoted after a run-in with a higher officer. He gets the job as security for Centurion Pictures but finds himself in the middle of a double murder case in the period that is said to be the golden age of Hollywood cinema.
The first Rick Barron novel, The Prince of Beverly Hills, was meant to be a standalone novel but Woods ended up writing a sequel after he was bombarded with emails from fans asking him to write another. He has no plans to write another at this moment in time.
After Chiefs was made into a TV series, one of his other books was adapted for TV as well. Grass Roots was made into a TV series in 1993. Since then, no other books have been made for TV.
Woods indicates that he would love it for his other books to be made into movies and if a director has read one of the books and wants to buy the rights, then he encourages the writer to get in touch with his agent.
In his personal life, Woods loves to fly, having his planes and he still sails regularly on his private yacht. He had married before but it ended in divorce and little is known about this marriage. He has stated that he preferred to live the life of a bachelor, but in 2013 he fell in love and married Jeanmarie Cooper. They have three homes, which they travel between, with their dog Fred.
End Stuart Wood com excerpt.
Note: Teddy Fey
Teddy Fay first appears as a domestic terrorist taking out corrupt political leaders. He is a disgruntled ex CIA agent and the master of covert action. He is eventually pardoned by President Lee and moves to LA where he works as a actor/producer for Stone Barington’s son who is a movie producer. He continues to occasionally engage in assasinations as a free lancer taking out those who need to be killed.
Note: Herbie Fisher
Herbie Fisher appears as Stone’s newphew who is sort of like a smary, “Wally Cleaver” kind of young man. He eventually passes the bar on the 5th try, and becomes a lawyer, but a bit on the shady side of the street.