This Writing Life

My enjoyment of the biography/art book of the cartoonist was flustered by my recognition of the cartoonist being quoted by the author as saying things which I had reported the cartoonist saying to me either in a profile I had written of or an interview I had conducted with him several years later. I did not ignore the possibility that the cartoonist said the same things to anyone who profiled or interviewed him, but by the time I was three-quarters of the way through the book and had bumped into the fourth quote I recognized, this had been a matter of some concern.

The narrative portion of the book was constructed largely from direct quotations from the cartoonist or his friends. These were largely colorful and intelligent and humorous, but the text rarely identified to whom these remarks had been made and none were foot- or end- noted, so it was impossible to tell when or to whom they had been made. I assumed most had been said to the author, but still… So I e-mailed the author, whom I knew, and the publisher, whom I knew even better. The author did not reply. The publisher said I must have missed the attributions which appeared on p. 223.

Indeed, I had. For this I apologized. But these attributions (There were seven, of which three were mine, basically said that in Chapter Such-and-such “some quotations” came from my interview of the cartoonist. This was not as specific as I would have liked, but maybe I was coming out ahead since readers were free to believe more of the quotations were mine than were actually the case.

But no acknowledgment had been made of my profile from which at least one quotation also seemed to have been taken. So I pointed this out. This time neither the author nor the publisher responded.

Maybe I being too sensitive.

I just finished…

…volume 3 of Knausgaard’s “My Struggle.” This was the most accessible and delightful so far. It is almost entirely his observations of himself as child and early adolescent, written only with the knowledge and understanding of this child/adolescent. Only occasionally does his adult consciousness break through. You gain crucial insights into relationships discussed in his earlier books. You often smile — and wince — if, like me, you had similar experiences.

And the final page is a whopper!

Art, No Art, Art

My latest is now up at http://www.tcj.com/art-no-art-art/

It begins

“Having no talent is not enough,” said Gore Vidal about the underground theatrical troupe The Cockettes, following its New York City debut. Neither, it seemed, were bestiality, cannibalism, child abuse, necrophilia, perverted nuns, and several gross of severed penises. Or so Robin Levy concluded after finishing “Pop Wasteland” (Jon F. Allen and Tim S. Allen, eds. 2015), an anthology of cartoons and poetry, which encompassed all of the above, while leaving him unshaken and unstirred.

Looking for a tax-deductible, arts-supporting charitable donation?

I’ve known Walter Robinson since high school, when he was an aspiring jazz bassist. Life, as we know, takes surprising turns, and he’s now seeking funding for one of his. His pitch is below:

I wrote the music, script, and lyrics to a gospel musical based on the slave revolutionary, Denmark Vesey. Freedom Theater in Philly has committed to launch a fully staged production late spring 2016 to run thru the 2016 summer. Freedom is one of the few and best black theaters in the US. My show will serve as a centerpiece production for Freedom Theater’s 50th anniversary. The show run will also coincide with the DNC convention next summer. The African American Museum in Philadelphia (am working direct with CEO, Patricia Aden) is a partner with Freedom Theater on the launch, as well as Mother Bethel, a Black Historic AME church.

I needed help in one area that involves a very special opportunity, but which leverages all of the above and reaching a wider audience with this work.

Remember the massacre June 17th in the Charleston black AME historic church where a lone white youth gunned down the black pastor and eight others during a bible study? The church was co founded by Denmark Vesey. In fact the theme of my musical is “religious freedom through the eyes of the 19th century slave and Free Negroe.”.

So you understand the high quality of the work, my work also enjoyed a World Off Broadway Premiere in the prestigious NYC music theatre festival where it was chosen out of 400 international submissions. So you can read all the great NYC reviews and get all the information on the actual music here at: lookwhatawonder.com.

With that background here is my current opportunity and concomitant funding need:

We will present an empowering narrated concert performance version of my Denmark Vesey work in Charleston, SC this November 21 and 22 .

It will bring together Vesey’s historic AME church( the new pastor will narrate), with all the black churches in the city, plus the oldest white church, and the oldest reform synagogue in US –all as audience, with discussion following.

WE WILL PROFESSIONALLY VIDEO TAPE EVERYTHING…PERFORMANCE AND POST PERFORMANCE DISCUSSION.

The product will then be edited and disseminated to black churches, schools, and community centers across the country via our education collaborative networks with a study guide created by Facing History and Ourselves, an exemplary Boston curriculum non profit.

I need to raise five thousand dollars and am asking for help. Our non profit host is Called To Rescue, an anti-modern day slavery/ Human trafficking organization, so donations will tax deductible.

Even 50 or 100 will help. Let me know.

===========================

To donate:

Here is the donation information. They are now set up to receive, process, and distribute
for our Nov 21 and 22 performance needs.

Please kindly mail your check to:

Called To Rescue

Atten: Charleston Slavery Performance Manager

9709 NE 83rd Court
Vancouver, WA 98662

They will provide you with a receipt and 501c3 notice after they receive.

Make the check out to :

CALLED TO RESCUE

And write at bottom of check our specific reference notation:

“Charleston Slavery Performance”

I just finished…

,,,”Friday Night Lights” (25th Anniversary Edition), by H.G. Bissinger. I had not cared to read it before, or watch the movie or TV series, but it was in the health club “Free Box,” so… As you probably know, it’s an account of a single season of a high school football team in Odessa, Texas. It was pretty good, if you overlook its failure to truly grapple with the insanity of the situation. Bissinger took swipes at the racism, the cost to education, the obsession of the citizenry, but he never grabbed hold, like a Kafka or Mailer or Hunter Thompson would have. Kid gloves, I thought.

I was interested in whether the team would win the championship, but I wanted to know more how the kids turned out. Bissinger gave the facts, but not in a way that I felt any fates resonate. Maybe he failed to portray the young men in a compelling manner; maybe they just weren’t compelling people. And the larger, unexplored mystery to my thinking was what accounted for the deep emotional attachment Bissinger professed to have with these fellows. Time-spent-in-proximity doesn’t seem enough to account for it. Bissinger didn’t examine the “Why” of this in any depth. Maybe that wasn’t this book, but that would have set things on a higher level for me.

I just finished…

…Jonathan Franzen’s “Purity,” which I’d picked off the “free” shelf at Café Bongo. (Somebody must not’ve like it, since the usual up-for-grabs is more like “The World of Musical Comedy,” (3d ed., 1966), a new quality hardcover being about as rare as a Shakespeare First folio.) Anyway, after two volumes of Knausgaard, it was a treat to be engaged with a central character like Pip, who kept me smiling throughout entire 20-page sittings.

The company of other characters, whom Franzen centered other sections on, I didn’t enjoy as much. There are involvements with the evil of Wiki-source-types and the totalitarianism of the Internet I didn’t spend the time on I assume the author would have preferred. (When I want to be informed about public issues, I prefer mounting a stationary bike beside my pal Budd to listening to novelists with whom I am barely acquainted.) But the heaven-forbid plot hooked me. I was steadily drawn along, pins-and-needled over how Franzen’d work things out.

Now all open the NYRB and see what Diane Johnson wants me to think about the book. And I’m ready for “My Struggle” 3.

Sex, Lies and SHOW

My latest is up at http://broadstreetreview.com/cross-cultural/showtimes-masters-of-sex

It begins:
The third season of “Masters of Sex” has concluded stormily. To avoid spoilers, let me simply say that, after A left B for C, C left A for D; but D had already left C (and E) for F, who had left G for her. The series had entered viewers’ living rooms in September 2013 purporting to have been drawn from Thomas Maier’s 2009 book of the same name. That had been a serviceable account of the lives and work of William Masters, M.D., and Virginia Johnson, whose relationship had climaxed (double-entendre intended) with their earth-shaking (yup, guilty again) “Human Sexual Response,” which, in the words of an exuberant jacket-copy writer at Basic Books, had “changed the way we all thought about, talked about, and engaged in sex.” But the series had deviated so far from the book – and actuality – that the creators – or the network’s lawyers – came to add a disclaimer at the end of each episode that Bill and Virginia’s children, whom have been shown marching off to Vietnam or sleeping with their boyfriend or getting a parent investigated for child abuse were “entirely fictional.” (Which isn’t “entirely” true either, since Masters and Johnson each had a pair.)

I just finished…

…Elmore Leonard’s “Charley Martz and Other Stories.” I was so excited to see a new, though posthumous Leonard, I didn’t see the small print, below the colon. “The Unpublished Stories.”

I love Leonard. I have read all his novels, including “Touch,” which is like having listened to all of Dylan’s albums, including “Slow Train Coming.” I got to Leonard late. “City Primeval” was my first. I didn’t read crime fiction. I would ask people who did, “Who’s as good as Raymond Chandler, Dashiell Hammitt?” They would tell me Ross MacDonald, Ross Thomas, Robert Parker. They were wrong. Then Harvey, a collector of editions, said Leonard.

But this new one… The earliest are undated. The last is from 1960. It is easy to see why they were unpublished. Not one of them is worth a minute. The only good thing about them is seeing as good as writer as Leonard write stories as bad as these.

Hard work, it turns out, pays off.

I just finished…

…Karl Ove Knausgaard’s “My Struggle” (vol. 2). (Am I the only one who didn’t know “Mein Kampf” means “My Struggle? Am I the only one who, knowing this, has whiffed on the connection?)
Anyway, it took a while. In fact, about two-thirds through, I considered quitting reading books altogether. I’ve been at this a long time, I thought, and enough’s enough. Part of it was, like vol.1, I didn’t see the point of sitting thru a 40-year-old instructing me about life. Plus, I kept forgetting who his friends and relatives were, or even if I’d med them before, and, except for Ibsen and Hamsun, I’d never heard of the famous Norwegians he kept posting as directional markers.
But after a week, I resumed. (Old habits are hard to break.) Toward the end, he started writing vol. 1, and that was cool. We have two more in the house, and I’ll get there; but not for a while. I picked the new Jonathan Franzen out of the free box at Café Bongo, and it’s a treat to find myself smiling for 15 consecutive pages.

Electric Bob

Just in time for the end of my Kennedy blatherings, I have something new to tout:
http://www.broadstreetreview.com/books-movies/elijah-walds-dylan-goes-electric
It begins:

On May 3, 1963, a 22-year-old folk singer, down from Greewich Village, drew 45 people to the Ethical Society for his Philadelphia debut. Less than three years later, he sold out the Academy of Music. In “Dylan Goes Electric!” (Dey St. 2015) Elijah Wald explains the in-between.
Wald was six-years-old in Cambridge, Mass., when Bob Dylan exploded into “Maggie’s Farm” at the Newport Folk Festival. I was about to start my second year at Penn Law School by moving into a Powelton Village pad, so our connections to those times differ. I might emphasize things differently, but I don’t think he missed much. He heard the tapes, he viewed the films, he read the correspondence, he interviewed dozens, (not including Dylan). Wald’s reconstruction, from build-up through consequences, is thoughtful and thorough, balanced and gracefully styled. He lays out facts, voices arguments, analyzes schisms – and answers the enduring questions. Was Bob booed? Were those tears on his cheeks or sweat? Did Pete Seeger threaten his set with an axe? And when the folklorist Allen Lomax – metaphorically and actually – wrestled the agent Albert Grossman, who won?