"I think they're lying to you"

(quote: ATTN , video: snippet of a Cornel West interview)


I think the significance of an era grows in the years following. And I think that in 2009 we can start to see how this one sneaking out the door will be written in history. We'll look back on it as the time when technology really started to make us insane, extra-dimensional, and frenetic. And it will be remembered for violence in all hemispheres, just as each decade before it, but now we watch our craziness together in real-time and have to think about it and wonder what we can do before, alas, we realize nothing. And again we were fooled by hucksters and greedheads, and we'll never beat them because they work harder than us. And we remained enamored with silly contrivances and bad food and economic imbalances and ourselves, because that is all part of who we are. But there's a place for everything now, like there wasn't before, and our outliers and freaks and special people all get room on the crowded internet to seek their brethren. This is the year at which we might look back and see the beginning of technological saturation, not an end to further development of course, but a time when our telecommunications mojo became our over-arching human religion. How we came to solve problems and cause them.

This year is something biographical for me as well. I gained honorable discharge from another university, and having no classroom in the fall I'm poised to write more than I ever have in my life. This last month like 3 of my previous best combined. And I learned more about how to do it than in any class I could ever take. And if I could wrangle one piece of advice for a creative person, it would be 'work your ass off'. It will be so worth it.


Had a workshop for this story. Really good response and a worthwhile conversation about its problematic ending. The piece was filled with a few small experiments, techniques I had never really tried. One of these was an attempt to present expository information in as interesting a way as I could muster. Expository writing has always been problematic for me. It's a question of aesthetics more than anything, what is the perfect degree of information required for the story to have its effect? Clinical rehashing of past events is an overdose, it turns the work into some brief essay on a topic, makes the events impersonal and strategic-seeming. And flashbacks that are non-diegetic to the scene, segregated from the timeline, almost never work. They are clunky and out-sized and intrusive. But the information needs to be presented. And I think the only way to get it into the narrative without boring the reader to tears is to remember that everything is made up of narrative elements. 'It is stories all the way down'. More information can be packaged into sub-stories than a listing of details, and by conveying details through these smaller stories there are greater opportunities for characterization and development of an emotional disposition in the characters toward their circumstances. Anyway, interesting problem in the art of fiction.

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"Between the wish and the thing the world lies waiting."

(quote: Cormac McCarthy, video: Sasquatch! 2009 [some friends of mine appear])


You know a person is a hermit because they talk about their cat, animals that matriculate to their backyard, queer things they've noticed about neighbors. They carry very little gossip around with them, not out of strict disinterest but ignorance. They have inside jokes with an audience of one. They name things in their depopulated world, assign superfluous superstition to things to mystify what is otherwise routine. I'm gradually drifting that way and have been. My brain is being rewired to run on silence and the detritus of my third-eye. The extrovert that I was for my formative years waits for my free night of the week. It doesn't even tap its feet anymore, it has learned that its time will come. I've taken to saying lately that I enjoy getting older. That when people groan about their birthday they should be grateful, for each day that passes is a day in which they are more themselves. And maybe it doesn't work that way ubiquitously but I find that as I'm getting up there in years I am gaining some scant wisdom, a longer fuse, a realignment of my self-consciousness from paralytic to snide content.


The Observer Effect my metaphor for everything now. I've been researching the means by which we measure personality, a desperate urge for one of the characters in the long-form book I'm working on now, and it seems many of the methods involve self-reporting. The individual taking them knows they're answering questions intended to gauge their empathy quotient, or systemization style, or Autism Spectrum score, or Briggs-Meyer profile. And even if consciously every answer is honest, the fact that one is reporting on themselves introduces such margins of error as to undermine any credibility. Taking the test the second time is like not taking it at all. The basic unit of our personality is the individual choice, no matter how small, and even in the act of answering one simple question we are further defining ourselves. The measurement appeals to ideals and envies and disappointments. And in coming to further understand this, and realizing that my character would need to reach this same conclusion, it occurred to me that narrative is the only real personality test. Stories qualitatively define aspects of an individual, this function perhaps their primary value in the post-Survivalist world. And they are scalable: even your top drunken anecdote says something meaningful about the person you are. At the opposite end of the spectrum, a well-researched biography may be the best technology we could concoct to model the testee's brain. Fiction on the other hand designates archetypes, filling them in with conditioning that could only happen in the setting's environment, forcing decisions on them in unique arrays and documenting the results.



I've been studiously editing a couple short stories (and just finishing up a first draft and a finalish one of two pieces that comprise nearly sixty pages) and feeling the process become more careful and open-ended. I concern myself less with getting a few pages edited than I do spending a couple solid hours at it, whatever the results. And so I read a paragraph three times, or four, and change a comma or add an article or delete one. Or the whole paragraph goes out the window in favor of a new one. Recently a friend sent me a copy of a book self-published by a guy I know from years ago. A guy I'm happy has survived. It was a cool moment to open that envelope and read that first page. I haven't got to all of it yet, and can say little about the content so far. But there was a glaring typo on the first page that made me cringe. My anxiety over the typo (not in this blog so much, but in fiction) keeps me up at night, and I almost imagine them as I read. I plan to self-publish a book later this year, a collection of short stories, and I'm phobic about the misspelled word, or the poorly chosen comma. And yet the process seems interminable, like picking through weeds for broken glass.

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'The Writer is a Spiritual Anarchist'

(quote: Saroyan, video: Bukowski Dinosauria, We

The question comes to me now that it's real . . .what relation does the artist have to their parents? Some of us have bohemian 'rents that once tried their own hand in some art or at the very least hold up creativity as something with which to measure other things by. And some parents likely view it as an empty pursuit by which no access to the good life or happiness is granted. My parents are nowhere in this continuum. They barely listen to music, my mother reading glorified romance novels, my father reading nothing at all. They do not watch films, but popcorn movies with whatever actors they prefer. The production of even these instances of art are so mysterious to them that the thing they watch may as well have been dropped from the sky. And yet, I'm trying to include them as much as I can in my circumstances re: graduate school. And somewhere in these last few months it occurred to them that I am writing. A lot. And they wanted to see something.
So . . .after they bugged me over the course of several of our weekly phone calls, I relented and decided to send them something. I thought over a half-dozen short stories that may be suitable. This one discarded for all the drugs done in it, that one put aside because the protagonist is too close to my father, a third overlooked because it would simply be too damn weird for them to ever look at me the same. And I settled on this one as it seemed the most neutral. And even it has vomit, and alcoholism, and swearing, and a man's pubic hair catching fire. They called me today after having read it, and said: "thanks', 'it looks good', 'are all those countries real countries? or did you come up with some of them?'. Now, I don't expect them to provide incisive critique. But I don't know how to talk to them about writing, it is so far removed from their world that I might as well discuss my love for some forgotten tribal rite. And yet I came from them. Somehow.


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A fellow student that I've had workshop classes with has been published in a contest wherein this work also competed. She has not been published before and in almost all cases I would be happy for her success despite my slim envy. But the nature of her work, and the small success it has been granted, disturbs me. See, in my inability to get things published or gain acceptance into most of the schools to which I've applied, I've suggested as one of my disadvantages the content of my stories. I've identified a continuity in the themes and characters and plot and perspective and aesthetic of the work that gains traction. And it is not what I do. I've told people that what is looked at as good in 2009 is work that is memoirish, sentimental, banal, depicting love as it has existed on television lo these many years. Work that when it strays from reality, wanders into magical realism and thus calms the chaos and confusion of living in the modern world. Magical realism is a cop-out, a boiling down, a superstitious response to those things not understood. And my fellow student's work is all of these things. I won't go further into detail about the work itself, but when I read it in class I recall thinking and noting that "this, this in front of me, is the opposite of what I want to write". Further, it is done badly. Sloppily, with cliched details, mortified progresion, warmed-over nostalgia.

And, as counterpoint, what I try to write is what I think needs to be done, in this moment, in narrative. A sort of NeoNaturalism in that the characters, like us, are bound to lives they cannot control by forces of nature. And that the predominate element of that nature, in a postsurvivalist world, is the environment created by our own culture. And further, that the environment does not have absolute control over our fate, but that for our constraints to be surpassed we must be willing to accept the greatest risks. Death and its metaphors are the gamble one must tolerate to become something other than circuitry exposed to the weather. And I try to document this alienating environment we occupy, present characters with circumstances at the furthest edge of confusion and possibility and reconciliation. It is not science fiction, but the leveraging of the unusual to suggest how very little sense we can make of this nature that shapes us, and that we fight against, and that we try, riddled with anxiety and doubt, to understand. In this milieu there is no room for hokey magic to resolve complications, there is only the paucity of explanation and the unsettling discomfort of feeling alone and perturbed when everyone else seems calm and aligned. It may not be the materials that everyone chooses, but they are honest ones and they come from a life I have led that has been fraught with uncertainty and nervousness and frustration and ceaseless inquiry to little avail but temporary contentment. I do not traffic in memoirs, because no person can truly understand another and to fictionalize such an account is as if to say that the writer has feared to live the life they depict, and wishes for some other reality that is not true. So. Fuck your memoirs, unless they be your real life. And fuck sentimentality unless you've loved and lost it and accepted it and your scars will not heal. I have some that still raise pink and shiny from my skin. And fuck magic, go to religion if you wish the world to make sense.

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"We will now discuss in a little more detail the Struggle for Existence."

(quote: Darwin, video: Wale-The Artistic Integrity

For my American Realism course I have to write a research paper from no less than 8 sources. The only limitation is that it has to deal with American literature written between the Civil War and World War I. After the paltry class discussion when the professor asked those gathered to define evolution, I decided that I need to examine Darwin's influence on the written word as art form. While he was only partially a philosopher, he presented an idea which fundamentally alters the picture of the world. For those who do not accept his theory, there is still this pausing gap, this rigidly logical refutation of their "meaning" that they must come to terms with. After Darwin, god became obsolete as a philosophical device. And 75 years later, Existentialism questioned whether, in a world without god, does life have any meaning? My research centers around finding 'transitional fossils' that indicate a progression out of Romanticism, via Darwin's findings. Was Realism a rejection of Romanticism at least partially because Darwin changed how we see nature and our place in it? Are the hard truths revealed by Darwin reflected in the grittier aesthetic of Realism? Does the art of the time hint at our collective philosophical evolution, does it indicate the Existential anxiety of casting out mythology and order?

I can't listen to American news anymore. Even NPR has been seized with the Fear. You cannot turn on a television (I'm guessing) or visit a newspaper's website or listen to the radio without dire news about the economy. Thousands being laid-off, millions more underemployed, our collective investments dwindling in value. It is all either a temporary downturn, or the undulating spasms of a false ideology as it crumbles. And the working class can do nothing in reaction but save a little more, leave out a few luxuries, show up to work, try to sleep at night. And I have no lack of sympathy for those who have lost their jobs, or who are going through tough times. But a lot of us made bad decisions, or are stuck in undesirable circumstances, or both. And the lesson to be learned from this, especially for younger people who haven't yet bought a house they can't afford or squirted out one too many lil'uns, is that the whole dream we've been sold is a joke. Buy a house, slave away at a corporate job, distance yourself from reality with television and sports, capitulate to the reproductive urge. All these things and more have been marketed to us as the ideal, as the swift path to happiness. But it isn't. And every second you spend willing yourself to someone else's system, is another inch you drift from the person you are. Not to say that you should never get a job and work for the Man. But never let it fool you that this 9-5 is your life. And never rely on another's enterprise to make you happy. Whatever you do for yourself, can never be taken away.

I've been writing quite a bit so far this year. Though less and less of it is presentable. I'm so much pickier and careful and thoughtful and (un)conscious. And so now I write the first five pages of a story at least three times before I settle into a groove. Write out not an outline but an ever-evolving aesthetic manifesto each time I want a thing to become a story. When I was maybe 20-years old, sleepless, I developed a crude analogy for what a story needs to be. The Bonfire Theory of Narrative Craft. Basically, it is this: A story, at the broadest conceptual level, must have three elements. The first is the flames. Flames are what are seen from a distance, what dazzles, what draws someone in or scares away an animal. This is the story's "gimmick", what you describe a story as being about in one or two sentences (Choke is about a sex-addict who pretends to choke for money and affection). The second aspect is the "fuel". How the fire is assembled, the structure of the wood aligned such that it burns at the desired intensity. This is the story's plot, the causality, what actually happens, how all of the events are tied together. The final element is the coals. The long-burning furnace of the fire, the part you bake hot-dogs on. The part you could take with you in a clay vessel on your pilgrimage and use to start a fire elsewhere. This is the theme of the story. What the story has to say, why the story is important to tell. What from the story can a person take away and add to their own experience? Anyway. Good stories are built like bonfires. And depending on how you want it to burn, you have to carefully consider all three of these aspects.


I'm occasionally opining for the Boise Arbiter now. Check it out.

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"Signs and wonders all along the road"

(quote: Mighty Mos, video: Bertrand Russell)


My brother leaves Boise in three days. He's packed up his belongings, prepped his dog, cleaned his house and found some young rabble to inhabit it, cast a line for job prospects, and is now counting the hours before he roars off into the mountains to be with the woman he loves. I came here because he was here, or at least that's why I tried to. He's my patron saint, the patience and even hand that laid the groundwork for me to be however rebellious and uncouth I have been. The wise and kind older brother that we should all have, and I cannot say I would have tolerated me as well as he has. He has never failed with an encouraging word, an incisive observation, a veteran bit of experience. And our relationship has grown more complicated in the City of Trees. We shared a dwelling for over two years, and relearned each other's idiosyncracies, talked until late at night in that complex of sentence-finishing and head-nodding that only siblings and spouses can conjure. We went to Africa together, to Amsterdam, to San Francisco. He watched me cry a hundred times for someone a million miles away and said exactly what I needed to hear always. He tried to understand my writing, and even when he didn't ruminated about how important it was that I kept going. And though we carry out our lives differently, and I was often selfish and closed off, I respect him as much as any man I know. He's struggling, like all of us, but he has never been afraid to do the hard thing when it was right. He's the man my father could have been, and one whose respect I will work my entire life to maintain. Thanks, bro. It's been good. I love you kid, and what's mine is yours. For life.

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Plans gradually into fruition. Like there is no action but waiting. And all these kilobytes committed to text have simply served to keep me distracted, to keep the nausea down about what may or may not happen six months hence. Anxiety evolves, and the things that made me tremble even two years ago now get swallowed like daily medicine. Money, loneliness, validation, insomnia, stagnation. . .gulp. The next half-decade sits in smoky still-images in my brain: surrounded by spectres, high as a kite, ox-like and obstinate, laughing in the dim morning in my cold bed. I tried my hand at this conventional thing: worked in my office, and put on brown leather shoes, and made the phone calls I had to, and contributed to my retirement fund, and clinked drinks with mid-life crisis casualties. And I didn't fail out, I wasn't asked to leave, and I have burned no bridges, try as I might. The televised 'merikuhn dream just isn't my gig. Even now I can feel the mercury setting in my bones, like concrete turning me into a statue here; groaning and medicating with the other statues in our still, still garden. But I've found a way out, and not a frantic leap from windows, but an almost sanctioned way to stave off my demons and wake up enthusiastic. Almost counting days now . . .

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The other night a friend of my brother's, this guy I've known for about a decade now but have never really connected with, asked me about the whole grad school thing. When I told him I was going so that I could write a novel, he asked: "what do you write? I mean, murder-mysteries, or science fiction, or something?" And I didn't know how to respond. What do I write? So I laid out the plans for my novel, the gist, the theme, the setting, one or two of the characters. The thing is, talking to people that don't read much, I have a hard time explaining what my overall project is. I feel like the follower of some unkempt religion, like some excuse needs to be made. But in the glow of my computer, it all makes absolute sense. Finish two more short-stories that are stewing in my skull and turn everything legible into a self-published collection. Draft the text of my graphic novel about time-traveling drug-dealers and immortality cults. Pound out my novel about loneliness and amnesia and Detroit and identity. Congeal my Antarctic dreams into some kind of bleak narrative. The thing is, I have never felt this in charge of my creative impulse. I know exactly what I'm doing, even if part of the plan requires me to give up all conscious control.

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"The lost eyes of a thawed caveman"

(quote: me; video: Ricky's "Meaning of christmas")

Xmas party season. Everything more or less a persistent hang-over for the last few days. And I have little to no actual responsibilities. My classes ended spectacularly. A great grade and excellent feedback in one class, an epic bar-crawl with the members of my other one. Last night had my xmas party for work, which is always excellent. And then two of my bosses and their wives genuinely wanted to 'hang out" and we went to the bar and listened to music and I talked to them about writing. These guys are saints. I'm bringing in stories for them to read in the next few days. And the conversation served as a glowing preamble to the awkward, bent-ear explanations I'll have to give to extended family next week. quoth a boss: "in the annals of history, how many people have gone from engineering to english?"

The world is different walking through it late at night and waist-deep in winter. Everyone is hid out, in front of their screens. Everything is slick or jagged, and smells older than it is. Blackened snow clinging to everything looking fungal and nefarious in the arc-sodiums. And cars tumble along testing brakes and mingling cigarette-smoke with the vapor of their words. And front lawns broadcast to no-one the christmas mythos and Bosch-like populate themselves with jarring juxtapositions such that Frosty waves to Rudolph and Santa lords over them both disproportionate. And a frazzle-haired romantic that listens to BRMC steps from his 70s-era duster and snaps a pic with his gadget. And at some point I sit at the head of the table and drink the bottom-third of fancy cocktails and forgive people in my head. And when we're back out the doors the cold is treatment of an overdose and I gasp and run and clamber half-up a statue. Cut my hand and it bleeds like eyebrows in bar-room brawls. My own blood on the snow, dilute in the ice.


Reading through Gravity's Rainbow again. I made it 2/3rds of the way through, but lost the plot in Africa. This time around there is a certain cognizance of deliberate density. It's wonderfully complex, the detail rich, and every one of them distinct and well-executed and beautiful. But I think I'm seeing some cracks in Pynchon's methods. An immense and complex narrative that does not pause for stragglers, which has an integrity to it. But the big-picture . . .something is missing there. And reading Warren Ellis's Crooked Little Vein which I'm loving. But there's also a problem in his rendering, a sort of chaos for its own sake, covering Burrough's territory but trying to maintain lucidity. The images don't hang together like they could. Well, that's only 10 pages in. So who knows. Anyway, I really like both of these books.

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"Cross rubicons you filthy children"

(quote: me; video: clip from Bad Boy Bubby {turn your volume up a bit})

A humanist organization has begun putting advertisements on buses that say something along the lines of: "Why believe in a god? Just be good for goodness's sake". As a phrase I find none of that disagreeable. I don't believe in god, and I find our culture and progress diluted by those that practice within organized religions. I believe that religion is a trait adapted for survival in an environment we no longer inhabit, a vestige of a different time, and irrelevant paradigm that refuses to get the fuck out of the way. But this advertisement nonsense is just that. The struggle of ideas is not won with bus advertisements and silly mottos. This campaign will do nothing but embarrass most atheists and further alienate believers. Consider this: if you are an atheist what is the single most personally annoying attribute of religion (we are not talking here about its tendency towards violence and hatred, the stupefying effect it has on children, the reprehensible behavior it is allowed to excuse)? I think we can all agree that it is evangelism. We do not like the word 'god' on our money, we do not want religion forced on us in television or the public square, we do not want the moral compass of the church taking bearings in our halls of justice. Many atheists say that they don't have any problem with people practicing their 'faith' as long as they keep it mostly to themselves. The tacit agreement behind that is that we keep our understanding mostly to ourselves. And yet, here we are. Evangelizing. Giving the fools an argument for what's wrong with us. Occupying, however inaccurate the term, the 'militant' moniker bestowed by Bill O'Reilly and Bill Donohue and Rush Limbaugh. Religion will end. In a few generations it will finally be shrugged off like an ill-fitting coat. That is not to say that we can't push on it with science, or air it out in the appropriate interpersonal conversation, or write about it on our blogs, or create irreligous art. We simply need to hold the same respect for everyone else that we demand they give us. I don't know what the hell this group was thinking.

It all starts to become real when you get your test scores back and your portfolio is 95% done and your letters of recommendation are piling up in their letterhead envelopes and Wayne State has sent most of your transcripts and your boss tells you "there is no point in doing x, you'll be gone in a year". And if I were to gut a deer and read its steaming entrails they would tell me my best chances for acceptance are the University of Oregon, Ohio State, Brooklyn College, and my second alma mater. Next summer, I'm plotting a month-long Retirement Party that will find me hitchhiking and bussing from Portland, Oregon to San Francisco, California. I will sleep on the beach in Coos Bay, in the salted trees of Siuslaw National Park, in the view of Stinson beach, in the parking lot of Mt. Tamalpais State Park. I want to demarcate my departure, dig a deep slash in it that can never be recrossed. I want to think of nothing save how I will eat and where I am going for 30 consecutive nights. There will be only so many instances in a life that allow for such digressions. Each one must be swallowed whole.

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