Give a Hoot, Read a Book

Just some books

Before I begin, I just want to direct you to a very interesting analysis of the film Inception.  I found the movie extremely entertaining and am happy that it exists alongside vacuous summer blockbusters like The Sorcerer’s Apprentice.  This analysis looks at the larger picture of the film and how it goes beyond the story being told on the screen.  Please only read if you have seen the movie, since not only are there spoilers, but the piece also will not make any sense outside of the context of the film.  Thanks for reading.

We consume media at a voracious pace.  This fact is pretty widely known, but think about the mediums through which we choose to collect this information (I use the term information loosely, connoting just raw data rather than useful info).  Television, movies, computers, phones, etc.  We look at a hell of a lot of screens in our lives.  Thinking about this just makes me sad.

On a usual day, I spend between eight and nine hours at work (90% of which time involves Excel spreadsheets, but I’ll save that rant for later), then come home and go on my computer for an hour or two to catch up on my usual websites (0% of which involves Excel spreadsheets, just on principle), and then spend the remainder of my night watching television, usually while still on my computer.  Yes, during that day I am taking breaks to eat lunch and cook dinner, go to the bathroom, shower, etc, but it also consists of countless twitter refreshes on my internet connected phone (way too many than necessary, but anything for a simple diversion, I guess).

All of this (in)activity leads me to one conclusion.  Books!  I love books.  I was always a big reader when I was young, but during my high school and college years I kind of went away from that sort of activity as there was always something else going on.  Once I was done with school and had some time off, I was able to get back into reading, and boy did I ever.  I was readying three or four books a week, trying to broaden my knowledge on a number of subjects, yes, but mostly because I enjoyed it.  I enjoyed this active reading as it was so much (inherently) unlike the passive reading that I was and am constantly engaging in through the internet.  Just an hour’s read of Chabon, to me, is worth more than a year’s worth of Pitchfork music reviews, and I love Pitchfork music reviews.

But it is more than the actual content inside the book that makes me want to read.  A book also has a heft, a weight, which gives me a certain satisfaction when I pick it up to continue my relationship with it.  It is easy to track how much has been read and what remains to be read, and these amounts are tangible in the form of pages piling up or running down.  These thoughts may seem inconsequential to you, but to me they are integral parts of the book reading experience that I cannot get from reading a story on the internet.  However, it seems like the book as a medium is losing ground to slicker, more compact packages.

As iPads and Kindles become more ubiquitious and pervasive in our culture, we loose the need for physical books, the stores that sell them and the shelves that hold them.  Where some would see these consequences as good, a sign of progress, I see them as just the opposite.  As we become more dependent on these devices, we lose sight of what the medium actually has to bring us.  A book on my shelf is a trophy in a case.  I have read any given book on my shelf, some a number of times, and frequently pull them down to assist in an argument or discussion that I am having with one of my friends, or to remind myself of a particular sentence or passage that I thought was funny or sad or poignant, combing through the dog ears and highlighted sentences (its true, I underline as I read, even for fiction.  I’m a dork).

Yes, it should be enough for people to read books at all, no matter the actual medium, whether through the screen of an iPod or written words on a page, but I just can’t see feeling the same sense of accomplishment when finishing Infinite Jest on a Kindle versus turning the last page to blank in the thousand-plus page book.

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Remember when people thought this image was racist?

*sigh*

Well, I’m back.  I wish it didn’t have to be like this, but this post, the first in about four months, is about LeBron.  First, however, let me say a couple things about the site.

I realize that it has lain (is this a word?  Spell check is accepting it…) neglected for some time and the main reason for that is that I’m lazy.  Or at least lazy enough that I didn’t want to take the time to write things for your hasty consumption after a 10 hr workday.  I preferred to sit around, drink a couple of beers, and watch The Wire when I got home.  Sue me.  Either way, I have found a spring of creativity and decided to come back to do some writing.  Although I was (semi) prolific for about a week or two there, I simply do not have the time to be writing a whole lot, so I would expect one post or so each week.  Maybe an extra one here or there if I feel compelled.

Well now that that’s said, here are my thoughts on LeBron.

****

“I don’t wanna go ring-chasing.  I want to stay with the Cavs and build a champion.”

-       Zydrunas Ilgauskas

Just kidding.  That’s a quote by then 21 year-old LeBron James from a 2006 issue of ESPN: The Magazine.  What a difference 4 years makes…

I bet most of you here figure I’m ready to blast James for what he did, bolting Cleveland to do exactly what he said he wouldn’t do in the above quote, but you know what?  People can change their minds.  A lot of people said stupid things when they were 21.  How many of you have prematurely said “I love you” or something to that extent, having people hanging on your words whether you mean them or not.  I hope that in 2006 LeBron really meant what he said.  Now this unfortunate quote is following LeBron when he so clearly disagrees with both statements.  I don’t know LeBron and nor do I want to.  What I want to know is how he possibly could consciously name his television special, the newest low point in Cleveland sports, The Decision after former debacles “The Shot” and “The Drive” haunt the city.  It is the articulation that stings the most.

As the dust settles, I want to make something clear.  What people don’t seem to understand is the reason why many of us Clevelanders (or at least myself) are upset.  Of course we all wanted LeBron to stay in Cleveland.  We thought he was one of us.  It is now apparent that he was not.  However, it was his prerogative to sign with whomever he wanted.  Despite his comments in the past, he did not owe us anything and we most certainly owe him nothing.   It’s called free agency for a reason.

What I take offense to is the manner in which he went about this decision.  The Cleveland Cavaliers franchise only found out his decision 5 minutes before the rest of us after coddling him and his friends for the last seven years.  I hate to use a now tired cliche, but stabbed both the Cavs and the city of Cleveland in the back on national television, a despicable and unforgivable act.  He will never be welcome back.  He should have taken care of business like a professional, not a high schooler.

Now to those of you making comments about how bad the Cavs will be now and saying things like we never deserved LeBron, well fuck you.  Why kick a city when it’s down.  At work last week people were saying things like that and I asked them to imagine if Joe Mauer (a local boy playing for the local team) had an hour-long special to tell everyone he was playing for the Yankees.  That they could understand.  This is one of the lowest points in Cleveland sports history.  No wonder I have so few friends who want to move back there, including myself.  It is just very unfortunate.

Thanks for reading.  Go Cleveland.  Go Cavs.  Go any team playing the Heat.  I now like Kobe more than LeBron.  Thank you LeBron for the last seven years of exciting basketball.  Unfortunately, you have the same number of NBA championship rings as I do and will forever have fewer than your friend Dwayne Wade.

PS I am not mad at Z either.  He is free to do whatever he wants.  It’s just unfortunate that now I have to hope that he never wins a championship.

 

Genre Bending

The Escapist

Notice how many movies lately are of the super hero/comic book variety?  Spider ManBatmanWantedWatchmen.  The upcoming Scott Pilgrim vs. the World (which looks awesome).  Etcetera (not to be confused with Electra).  What is it that made our collective consciousness crave superheroes?  Cut and dry situations where there is only good and bad, no middle ground (although the newer Batman movies have attempted to build on that thought)? These Rousseau-ian ideals appeared to emerge after the 9/11 attacks, which I believe is key and will get to in a moment.  First, I want to discuss the impetus for this post.

Lately, there have been a number of popular writers who have inserted comic book elements into their books, adding an extra layer and increasing the number genres that they could be described as.  Specifically, I am thinking of Michael Chabon’s Pulitzer Prize winning The Amazing Adventures of Kavalier and Clay and Jonathan Lethem’s The Fortress of Solitude, which I just recently finished.  Kavalier, which, for the most part, takes place during the 1940’s and 1950s, utilizes long sections describing comic books, specifically of the main character’s creation, The Escapist.  Fortress on the other hand, while grounded in reality, has its main character, Dylan Ebdus, in possession of a ring that gives him powers of invisibility.  Both of these novels utilize fantastic elements in order to shine light on the characters’ weaknesses.  Josef Kavalier, who wishes he could be avenging his family’s death in WWII, can only live through his character, The Escapist, who kills Nazis in ways Josef could only imagine.  Dylan only uses his ring’s power sparingly (it really is not the main focus of the book and is only to support the main themes) and when he has a situation that he cannot control, bringing him back to his time as a child on the streets of Brooklyn and the constant “yolkings” that he could do nothing to avoid.  As such, these narrative devices allow the authors to emphasize their characters’ unattainable desires, representing ideals, rather than reality.

The last time that comic books (and their characters) were this popular, was in the period during and after WWII and, tying into present times, there was a common enemy.  The average consumer could live through these characters and, even if they weren’t fighting this “common” enemy, could witness empowerment in a way that they could never imagine for themselves.  These authors, Chabon and Lethem, have latched onto these ideas and created accessible novels that could be approached in a number of different ways.  By utilizing their multi-genre structure, they were able to push themes further than ever before, tying in common archetypes of popular culture to push the envelope in terms of narrative development.  In the current world, these story devices can make a book transcendent, creating characters with larger-than-life desires that can only be reached through fantasy worlds.  Either is recommended for a thought provoking and rigorous read.

Guitar Heroics

You are not as good at guitar as Malkmus is.

That’s right.  I’m back.  You missed me didn’t you.? I know what you were thinking.  Who are all these weirdos writing on what is supposed to be this awesome guy’s blog?  Well they were all good friends of mine, so lay off, alright?  Anyways, I should be getting back to posting regularly despite my starting of my first job ever.  I won’t really say too much about that except that all of you should go out and buy Target products because you will be contributing to my salary.  But let us begin again.

Who doesn’t love a little air guitar?  When you’re in the zone and rockin’ out to some tunes, it’s almost impossible to not let those fingers fly.  But what is the best song to rock out to?  I know that all of you have sat in your underwear in front of your cd player in 8th grade listening to Stairway and couldn’t help getting swept away in the solo.  I know that I’ve yelled at someone for fast-forwarding to the end of the song to hear the best part.  No.  You gotta earn that solo.

Anyways, what I have recently found during my long drive from STL to the Twin Cities, is that my favorite songs to solo (or just rock out) to all have the same thing in common, something that I like to call the “heroic” guitar solo or guitar lick.  Now, it is hard for me to describe what this type of guitar playing sounds like, so I think that it would be best for me to just mention some songs that employ it.

First of all, the first time that I heard and recognized this type of song was when listening to Radiohead’s OK Computer and specifically the song “Lucky,” my favorite on the album.  The “heroic” section can be heard during the song’s chorus backed by what sounds like a choir of angels.  The meshing of the two sounds just makes the guitar seem to blast off into the heavens, resulting in my initial name for the phenomenon: the “angelic” guitar solo.  Here is a link to hear the song.  You should know exactly what I mean upon hearing the chorus.

Now another song that employs this ethereal technique is one that I have been listening to a lot lately: Pavement’s “Gounded” off of Wowee Zowee.  If you like chiming guitars (U2 fans, I’m looking at you), you will be happy right from the beginning.  However, if you wait until about a minute and thirty five seconds, right after Malkmus sings “Boys are dying on these streets!” the chiming guitars get turned up and become downright heroic.  I can’t help but air guitar to this song.  “Grounded” is one of my favorite songs for a number of reasons, but Malkmus’s guitar work here is just downright offensive.  Listen to it here, you will not be disappointed.

A song that more of you are familiar with is The Beatles’s “While My Guitar Gently Weeps” off of their White Album.  The guitar solo here is one of the earliest that I have heard getting towards “heroic” status, but what I have found is that this is mostly a new sound in music for some reason, probably because of technological advancements that have allowed for increased precision for guitar sounds in recordings (I may be absolutely wrong here, so if you disagree, please put a comment).

What you may notice is that all of these songs have slower tempos.  I think that this is what makes the solos “heroic” as they seem to erupt out of the more somber sounding songs, providing more gravitas to each one.  Let me know if you all can think of any other “heroic” guitar parts in songs that you like.  If I come up with some others, I’ll be sure to let you all know.

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Glass Bottom

Sorry for the lack of updates lately.  I have been winding down my last days at school and have just had other things to do.  As such, today I give you another post by Tyler Newhouse.  Enjoy.

——–

The door was open when I tried it.  Inside, my friend sat slouched in a high backed maroon leather chair.  It was well worn, like him. Hillary sipped from a stout glass of clear brown liquid, probably Scotch, bringing the glass to his lips as I entered his small apartment.  This was his means of greeting.  I had learned to recognize the gesture, a motion to say, take a seat, or grab a glass and join me, you know where the bottle is.

It was noon, so I sat.  Hillary’s red nose rested upon the lip of his glass, and I stared at the sunspots that speckled his crown.  This was a habit of mine, and I think it unsettled him.  He had taken, of late, to combing his thin, graphite wires of hair forward over these spots, and I had no heart to tell him that it did little to hide the recess.  And this quiet, a reverence for silence and drink, was, at least from time to time, characteristic of our relationship.

Hillary broke the silence.

“You wouldn’t happen to have any dope on you, would you, Miles?  I’m near out,” he said.  “I just need a little.”

This too was a shared passion of ours, the love of chronic, an escape from running minds.  Yet I tried my best to discourage his habits, no matter how hypocritical that seemed.

“This again?  Isn’t this unethical?  This has to be unethical.  I’m not your dealer, Hill,” I joked.  This was a continuing game between us, and one that we both understood as such.

“No, no.  Unethical would be sleeping with you, and trust me, Miles, I don’t want to sleep with you.  I’ve never slept with a client.”

“Don’t you mean patient?”  I laughed, and thought for a moment of taking a drink.

“You pay for these sessions.  You’re a client.  A patient and a client.”

“I haven’t paid you for a while now.  If I still had to pay you, I wouldn’t come.  This isn’t therapy.”

“Whataya mean?” he slurred, “I’m a therapist.”  He must have been awake for a while.

“So you’ve told me.”

“Want my business card?”

Hillary dug through his suit pants before finding his slender billfold tucked into the breast of his black cotton blazer.  The pants and jacket didn’t match.  The blazer was rumpled, his signature, and beneath it he wore a grey tee.  His look had a certain fashion to it, a nonchalance that was coolly cocksure and made him seem approachable, which he wasn’t.

“Did you ever actually care about your practice?” I said.

I rarely probed Hillary with such blunt force, but as mornings moved toward dusk and the old man’s liver soaked up his appetite, he opened himself up to such brutish attacks of reality, which I also believed would help pull him back from the edge if he’s strayed a bit too far in the day’s early light.

“Of course.”  Hillary nodded, slowly.  “When I still had clients to care for.  But now all I’ve got is you, my patient.”

“Your friend,” I said.

I didn’t speak for a moment.  “And you need to start watching your consumption,” I added warily.

Hillary, though generally unaware of social reality during that time, did possess a virile mind, a lucidity that had once allowed for a highly prosperous psychiatric practice.  Like me, he realized that for now this had put an end to the conversation.  We sat for some time in silence.

“Have you heard of John Money?  Infamous for his quest to remove paraphilia from the Diagnostic and Statistical Manual of Mental Disorders?”

We had been acquainted for three, nearly four years, and good friends for half that time, and yet he still talked down to me in this fashion.  The Diagnostic and Statistical Manual of Mental Disorders, not the DSM.  And yet I knew nothing of John Money.

I raised an eyebrow, sheepishly.

“Of course there was the incident with David Reimer.  In sixty something,” he said.

Hillary continued speaking.  He talked of the 60’s, and psychiatry, and it seemed, as it often did, that he was stuck there.  I thought of the 60’s too, which inevitably brought me to psychedelics.  All the while I was audience to Hillary’s lecture.  His words escaped me, but his eyes were softer then, peacefully reminiscent and grey.  He would have made a good character in black and white.  Glass empty, Hillary went quiet and stood.

Behind me, he refilled his glass.

“Do you have any pot on you Miles?” Hillary said.

“Yes,” I said.  “I brought a J.”

I was still in my 60’s trance.  Smoking seemed appropriate, noble even.  I took the pencil case from my coat pocket and retrieved the joint.

Hillary stood expectantly over my shoulder.  I passed him the joint, letting him start it.  He took it from me without a word and moved to his chair across from me.

The joint was good, and smoked slowly, and we got very high.

Some unknown time passed, and eventually my legs stopped shimmering like oil in a hot skillet.  When I was able to uproot myself from my chair, I poured myself a drink.  Hillary took another too.  It could not have been later than two o’clock.  I suppose this is another shared passion of ours, the fine art of drinking.

***

“You need to get out more,” I said into the phone.

“I don’t want to get out ever,” he said.

“Stop being difficult.”

“Stop harassing me.”

“I’ll take you out.  We’ll go see a show.  Mamet has something new on Broadway and it’s very well received.”

“We’ve got no cash.  You’ve got no job.  You should go out, find a new job.  Maybe the money people will take you back.”

“We’ll sneak in,” I said.

“Yes, we’ll sneak in,” Hillary mocked.

“Yes, at intermission.  We’ll wait outside, and find people who leave, and ask for their stubs, and then walk back in with the smokers.”

“Who would leave, for good, at intermission?”

“People leave.”

“Do they?” Hillary said, again mockingly.

“Yes, Hill, they do.  People leave.  People in high places.  People not even you would have known when you ran with the high circles.”

“Yes.”  Hillary sounded defeated, quickly pulled back to a different time, one that I believe he yearned for.

I sat on my bed and listened to the silent phone.

“No.”  He was back.  “If we go out, I’ll do the taking.  Friday, pick me up at seven.  Dress nice”

Then he rang off.

***

I left my apartment early and hailed a cab going west.  We waited outside Hillary’s apartment for 15 minutes, and I was very relieved when he finally came out.  He looked dapper wearing his tuxedo with hand-tied bow, and I was happy to see he had combed his hair back.  He seemed confident, exposing his pate like that, and the grey shock that remained added to his air.  He was quite the bon ton.

Hill lowered himself into the car.  I wondered what the driver thought of us.  He hadn’t been upset by the wait, or even interested, which is unusual for a cabbie.  By five minutes in I had expected an outburst, but he said nothing, didn’t even ask a question, or toss a look back through the rearview mirror.  He didn’t even play the radio.  I wish he had been bothered and bent out of shape.  I wish he had turned round his shoulder and laid into me.  I would have been calm, and soothed his concerns.  It would have looked good, and I would have been an important young gentleman.  Instead, we just sat, and once Hillary had joined us, he directed the cabbie to the Museum of Modern Art, and we were off.

When we pulled up to 53rd Street, Hillary said nothing, just pulled me along until we faced the museum’s ground floor restaurant, The Modern.  In the windows hung large banners announcing the American Psychiatric Association’s Annual Meeting.

Hillary had frozen, waiting for something, perhaps a hand to descend and move him across the diagonal, into the dining room.  His eyes were turned down, but when they darted up momentarily, they looked like a cat’s, if the creature had been provoked, paws tensed, fur electrified.

“What are we doing here?” I said.  It was not an unkind question, more a product of my bewilderment than an outburst of incredulity.

“Now,” Hillary said.  “Use your trick.”

“What trick?”

“To get in.  We’re smokers and we need tickets.”

“Do they sell tickets?  Maybe we can pay at the door.”

“No, there are never tickets to these things.  It’s all by invite.  Exclusive invite.”

His eyes were still fixed ahead, moving around the cocktail party on the other side of the plate glass.

“So why did you say tickets then?” I said.

“Just use your trick,” Hillary said.

With one hand holding my phone to my ear, and the other around Hillary’s broad shoulder, I led him inside.  A squirrely man with pale skin and a misshapen rug of red hair sat behind a table.  He was the holder of the list, which appeared to be many pages in length.  It looked as if quite a few people had been invited.  I laughed into the phone, and as we passed this man, I gave him a knowing wave, sauntering into the busied room ahead.  Hillary loved it, and I was very suave.  I could feel the energy flow down his back.

“I’m a first year member of the Association, Hill.  Just out of med school,” I said.

Peering over my shoulder, Hillary spotted the bar, and without word made his way there. I followed.

“We only have wine,” the frail, rented tuxedo told us.  “Liquor is across the room.  See the line?  Yes, right there.”

“No, that’s fine,” Hillary said.  “Two reds.”

“Oh no,” another man whispered to me.  His beady eyes looked over Hillary in disappointment.  He had an aggressive, bulbous chin and wore a grand, well-groomed mustache, which made him look as if he had stepped out of a witty comic strip, something with only one frame and no caption.  “You really should be specific or else they give you the Merlot,” he said.

“Oh,” I said.

“And you don’t want the Merlot,” he assured.

“I don’t want the Merlot?” I said.

“Nobody wants the Merlot,” he said

“Then why do they serve it?” I said.

“What you really want is the Pinot Noir.  They have a great bottle from the Santa Lucia Highlands.  Ask for the Sequana.  It’s named in honor of the Franco-Roman goddess of the River Seine,” he said.

I looked over at Hillary, who was still waiting for the wine, his back turned to us.  The barman must have gone around back for more of the standard Merlot, and Hillary seemed displeased, fidgeting.

“Yes, the River Seine,” the man continued, “flows through the ancestral birthplace of Pinot Noir.”

The man sipped from his glass.  His face was purple with wine.  I’m not sure how he held that much wine and that much wine information.  It was far too much wine for me, and I thought briefly of snagging an unattended whiskey from a nearby table and going outside for a joint.  But I couldn’t leave Hillary there alone.

“Is that the Sequana?” I nodded at his glass.

“Yes of course,” the man said.

“Is it more than the Merlot?”

“More what?”

“More expensive.”

“Oh, yes,” he nodded.  This seemed to be an important quality.

The barman returned and handed Hillary two glasses of red.  Hillary turned, walked up to me, and forced both glasses into my hands.  He gave a smiling nod to the man, and I was surprised by how genuine it looked.

Hillary returned to the bar and paid for a glass of Sequana.

“I’ve been reading R.D. Laing recently,” Hillary said to the man with the purple lips.  “Are you familiar with The Politics of Experience?”

“Ah, yes,” the man said, and then looking at me, “You should really get a glass of the Sequana.”

“Yes Miles, go get a glass of the Sequana,” Hillary said.

I had nothing to say, so, smiling meekly, I turned and slowly made my way towards the center of the party.

“He knows nothing of Laing,” I heard Hillary say behind me.  “Terribly brilliant, but no Laing.”

***

As I moved then, weaving through the party, I came upon several deserted drinks, and I took each of them.  My head swam a bit, though I certainly was not drunk, so I went outside for my smoke.  Down 53rd Street towards 6th Avenue I found a long courtyard that cut the block in half.  It was a small, sparse park that connected 52ndto 53rd.  I found myself a nook and lit up.  The tobacco in my spliff covered the smell of marijuana nicely, so I relaxed and looked across at the American Folk Art Museum.  It’s a great thing to look at when high because it looks like a towering metal rock, dotted throughout with pockmarks.  My case was well stocked, and I lit another.  I sat for some time, I’m unsure of exactly how long, and then, thinking of Hillary wandering about alone inside, I returned.  Again, I nodded at the list man.

I visited both bars and retrieved a few more unattended drinks.  What were all of these people on that had them so cheery and cordial?  Half downed Old Fashioneds?  Maybe that mystical Pinot was more alcoholic as well.

Hillary was not at either drinking post.  He was not at the buffet.  He was neither sitting around the outskirts, nor milling through the center area.  I was quite worried, and in a frenzy, I pilfered another drink.  Worried that this drink, a smooth, oaky Scotch, might have had an active owner, I scurried off and made my way to the far end of the room, where a glass wall overlooked the museum’s sculpture garden.  It too was a great thing to look at, and I drifted off.

“Miles?”

I hadn’t been sleeping, I don’t think, but my eyes were terribly sore and dry.  I could feel their red veins that shot out like grapevines.

“Miles?” she said again.

“Constance?” I said, squinting.

“Miles, wow.  What are you doing here?”

Constance Coquette and I first met in college.  She knew French and I fell in love with her.   When she spoke, her chin would move forward and bob, gracefully, and it was a great chin.  The relationship lasted nearly five years, but she left me for a “more committed” man.  This man did not exist, as it turned out, but was more of an ideal she held onto.  It was all very confusing.  It was also what drove me to Dr. Hillary Locke, whom I had now lost.

I squinted again at Constance.  She was a very cold girl.

“Well, anyway,” she said.  “It’s so great to see you.”

“Yes.” I tried blinking my eyes to free them up, but they seemed resolved not to cooperate.  If there were shortfalls in her personality, there certainly weren’t in her person, and I wanted very badly to get a less blurred look at her beauty.

“Are you all right, Miles?” she said.

“Yes,” I said. “Yes.”

“I could get you some water, maybe.”

“Oh, no.  I’m fine.  Save your money.”

These sorts of situations are always very painful when talking to someone you are still in love with, and this pain must have been transferred to my eyes, which got worse with every move of my mouth.

“Well, how are you these days Miles?”

“Yes, it’s been a while.”

“Yes, eleven months.  But, really, how are things?”

I looked out into the restaurant.  Where was Hillary?  I wanted Constance, but not for this chat.  There is no sense in going through all of these niceties, not when they’re going nowhere.  How was I going to find Hillary without my eyes?

Constance, it seemed, was still looking at me.

“You’re here with your father?” I said.

“Yes, he was one of the speakers this afternoon.  He’s been making the rounds all night, and left me all alone.”

“Yes, everyone must want to speak with him.”

“Let’s sit and have a drink.”

“Oh, yes,” I said, “maybe another time.”

“I can go grab a bottle of wine and some glasses.”

“No,” I said, “I hear they’re only serving the bad stuff tonight.”

“What bad stuff?”

“I really should go,” I said.  “My eyes.”

“They do look very red.  Maybe you should rinse them out.  Do you know where the bathroom is?”

“Yes,” I said.  She was always dismissing me like this.  I turned then, and headed for the door.

“Call me and we can do dinner, Miles,” she called out.

I tried to scan for Hillary on my way out, but instead I bumped into a table.  I think a glass might have broken.  I had claimed many glasses that night.

A hand took hold of my shoulder.

“Need some help?”  The peculiar faced list man was back.  He looked a bit like the wino as well.  Maybe it was the wino.

“No more wine,” I said, shaking my head.

“What?”

“Wine.”

“Wine?  No, I don’t think so.  You’ve had enough wine.”

“Hill?”

“This way, sir.  Let’s get you in a cab.”

“Cab.”  I nodded.

***

It was nearly sunrise when I awoke, and my landline, which sits beside my bed, was shrieking in my ear.

“Yes,” I said.  It was more of a pant.  My eyes still burned, but now the pain wasn’t as much on the surface as it was buried behind them.  I was very dehydrated, and I wondered if my brain was swelling.

“Miles.  Good.  There you are.  Very good.  How are you?”

“Bad, Hill, very bad.”

“Oh.”  Hillary sounded very bad too.

“Hill?” I said into the silence.  “What do you want?”

“What?” Hillary said.

“Why did you call me?” I said.

“I called you?  I thought you called me,” Hillary said.

“No.”

“Oh.”

I was beginning to feel as if I was sinking into the bed.  It was all very hallucinatory, so I did my best to focus instead on the silence on the other end of the line, which lasted for quite some time.

Finally Hillary spoke up.  “I’m in a bit of a pickle here Miles,” Hillary said.

***

The hotel was located between the last lit avenue and the highway, and the wind coming off the Hudson River was glacial.  As I neared both the entrance and the water, I felt as if I were pressing into a wall of nails.  It reminded me of playing with one of those little square toys, which have the moving rods so you can place your hand in it and leave your imprint.  I was happy to be leaving my imprint, despite the weather.

Inside, the hotel looked like a set for a Terry Richardson shoot, somewhere the true madman could snap all of life’s banal insanity.  It was sleazy and perfectly unkempt.  I found Hillary’s room, just above the lobby, and the door was ajar.

Hillary, fully clothed, sat on the floor with his back resting against the foot of the bed.  He held a tall glass, which was empty but for a few final drops, and he stared down into the bottom of the glass.

The hooker lay above him, and was glaring at me.  She looked as if, for some short period, she had experimented with many sorts of drugs, and had survived with all her good looks in tact.  I have always been attracted to these kinds of girls because that history adds a whole extra layer of intrigue and risk, though I’ve never had the pleasure of actually uncovering that layer.

When I caught her eye she nodded quickly, head rising instead of falling.

“Yea,” she said.  This was a greeting.  I hoped she thought I was here to collect my poor drunk father.

I knelt and gave Hillary a gentle shake. When he looked up and recognized me, his eyes were cuffed with sagging yellow skin and he was sweating gently.

“Miles.”  He smiled.

“Are you o.k.?” I said.

“Miles,” he continued, “I’m so happy to see you.”

I smiled too.  I was just as happy to see him.

“What the fuck are you two smiling about,” the hooker said.

“Oh, Miles, have you paid this nice lady?”

“Who do I pay?  Do I pay you?” I asked the hooker.

“Yeah.  I’m independent.  It’s a hundred,” she said.

“Shit,” I said.  “I only brought 60.”

“Cock-suckers,” she said.  “Wastin’ my fuckin’ time.”  She seemed more aggravated than angry, and lit a cigarette.  I don’t think smoking was permitted inside, but maybe flophouses operate differently.

“I’ve got a joint too,” I offered.

“Gimme,” she said and sucked her teeth.

I did, and picked Hillary up.  We weren’t too far from his place, and the walk through the cold streets might help to heal us.

I stopped in the door.

“Sorry,” I said, looking back at her.

“Yeah,” she said.  “To hell with the both of you.”

“In good time,” I said, “but not yet,” and closed the door.

End

Drawing by Tyler Newhouse
 

On Robert Frost

As is now becoming customary, we have a guest writer for this Friday post.  Today, rather than the ruminations of one Tyler Newhouse, we have the thought provoking words of Justin Josell.  Read on…

Justifiably, my friends have questioned why I own a book titled Robert Frost’s Poems. I’ve never been particularly interested in poetry and quite frankly I know very little about it.  I don’t know much about Frost and, as a matter of fact, he’s probably one of about three poets I could name (including Tupac).  Nonetheless, for years I’ve owned this small paperback.  Why then, did I purchase this $5.99 collection of Frost’s work?  To read the poetic musings of America’s most renowned master-poet?  Not really.  To gain greater insight into an unfamiliar art form?  Nope.  Seeing as I bought it before leaving for school, perhaps I envisioned a romanticized college experience filled with stimulating poetry discussions?  Maybe this book was an impulse purchase.  Or maybe I thought it would look great on my shelf.  Perhaps someone recommended it to me… the list could go on and on.  In all actuality, the reason I own Robert Frost’s Poems is quite simple – I read it while I take a shit.

Frost’s poetry allows me to transform my typical bathroom experience.  Rather than sit in quiet solitude, I can hear the whistle of leaves in a windy summer forest.  I can smell the flowers outside a rustic farmhouse or visualize snow gently piling on my windowsill.  I may be perched atop cold porcelain but within the pages of Robert Frost’s Poems I am suddenly transferred to a warm autumn afternoon in rural New England.

So I ask you, what better way to spend one’s time in the bathroom, productively multitasking between poetry and poo?  In terms of time, the two are perfect compliments.  If it’s a quick, early morning post-coffee affair, I may read Nothing Gold Can Stay, reserving The Mountain for a more prolonged bathroom visit.  I’ll analyze Birches roughly ten minutes following a visit to Chipotle or tackle The Death of the Hired Man as I simultaneously regret consuming my roommate’s beer-infused chili.  Reading Frost is a wonderful way to multitask during these physiological occurrences and a refreshing break from the typical reading material stocked in most bathrooms.  Esquire, Men’s Health, and GQ have always been popular choices, but their superficiality leaves me mentally and imaginatively unsatisfied.  By reading Frost, I exit the bathroom feeling whimsically enlightened, and generally a few pounds lighter.  So I encourage those reading to follow suite.  Go forth and expand your literary bathroom horizons – for I have I chosen the toilet-reading less popular, and that has made all the difference.

 

The Big Stage

So after winter break was over in late January, my friend Justin (who will hopefully be contributing to NebMass in the near future) approached me to inform me of his attendance at a Washington Wizards (NBA) basketball game during our time off.  Now Justin is not a basketball fan, and I knew it, so I was quite surprised to hear this news.  I asked him, “What did you think?”  His response, “Dude…it’s not like going to a sporting event, it’s like going to see a show.”  I could not have agreed with him more.

As those of you who know me well (which I assume is pretty much everybody reading this) know, I am a huge NBA basketball geek and rabidly follow the 2009-2010 NBA Champion Cleveland Cavaliers basketball club headed by former and future MVP LeBron James (please defer from any comments about LeBron’s impending free agency, as that is not what this post is actually about.  Don’t waste my time and yours).  I watch every game and make an effort to attend the games at the Q when I am home, as I did yesterday for the Cavs/Nets game (another W for the Cavs, making it 12 in a row).  As such, Justin knew what kind of person he was approaching with his comments.

Although I do like football and baseball, I feel that basketball (at the NBA level) is much more of a spectacle, like, say, a show (Just to clarify, I am only discussing professional sports here, college sports are a whole different thing).  The raised, hardwood court is like a stage.  Music plays during game-time.  There are various shows within the show at halftime and during timeouts including unicyclists, magicians, contortionists, and dance teams.  Pregame introductions include special effects like fire shooting out of the scoreboards, spotlights shining on the star players, disco balls, lasers, and the like.

Along with that list of tangible things that make basketball games more “show-like” than the other major sports, there are some other separating factors that are more judgments on my part, although the following sentiments have been echoed by a number of my friends (I want to reiterate that I am only discussing professional sports here).  Football, as Bill Simmons frequently points out, is a game that has become more suited for television viewing than at game viewing, due to the evolution in television technology, both in HD as well as camera angles/types.  Baseball is not as consistently engaging as basketball, as many criticize its slow pace.  As such, when you go to a baseball game, there is more chatting going on than actually watching what is happening on the field.  There is not really an extra element added by attending the game rather than watching on TV, unless of course it is during the playoffs.  Basketball, however, adds a whole different dimension during the game.  There is a sense that something crazy could happen on the court at any time (a fact that LeBron routinely proves).  The energy in the building can be tangible, and the game is constantly progressing at a fast pace.  Even if the refs are blowing whistles left and right, the game seems like a sprint compared to baseball’s leisurely stroll.  I am finding it hard to explain what exactly it is that makes a basketball game more fun to attend, but I think that helps to prove my point.

For all of the entertainment that is available at our fingertips, we are looking to be constantly enthralled; we are looking for a show.  NBA basketball provides the viewer with just that, mostly by sticking to proven archetypes that we associate with spectacles that we view in person, like plays in a theater or even, as Justin later remarked, like the circus.  Rather than watching something jump through a hoop, were are hoping to see something (or someone) jump towards a hoop for a thunderous dunk.  On the brink of NBA All-Star Weekend this weekend, I believe that my points are even more appropriate, as the sport showcases the more gimmicky aspects of the game: dunks and three point shooting (in the dunk contest and three point shootout respectively).  If you are at all interested in this post, I urge you to watch these events and consider my points.  Hopefully you will find that you agree.

On a separate note, if you were at all interested in my last post, please read the update that I have added to the post in response to a comment.  I am not really happy with what I originally wrote, so hopefully I explained myself better now.

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Endless Complications

This picture is from the Onion. I hope he really did know how to read...

First of all, I would like to thank Tyler Newhouse for his post last week.  His questions were poignant and thought provoking, or maybe they were just the ramblings of a crazy person…most likely the latter.  Anyways, today’s post is about another author who was pretty crazy himself.

So yesterday, I was speaking to my dad and he asked what book I was reading.  I told him Oblivion, one of (the late) David Foster Wallace’s collections of short stories.  “Do you think I would like it?” he asked. “No,” was my emphatic response.

See, Rick Hoffman is not a fan of (seemingly) unnecessarily complicated language, which DFW is famous for, along with his numerous asides contained in endless foot- and endnotes.  I have not read too much of the author’s work, but his style seems pretty consistent in the few books of his short stories that I have conquered.  His voice, as it appears to me, is the natural extrapolation of that made famous in The Catcher in the Rye, the stream-of-consciousness.  It just so happens that Foster Wallace’s stream-of-consciousness stems from an extremely intelligent and extremely insane brain.  I am not going out on a limb here, Foster Wallace was no doubt crazy during his short lifespan.  It is this craziness that gives him a unique outlook and style unlike any other, which can prove both hilarious as well as impenetrable, usually at the same time.

My first real encounter with Foster Wallace was in a challenge by our very own Tyler Newhouse.  We were discussing the author, and he told me that if I could read and comprehend DFW’s story Mister Squishy in one night, he would have respect for me as a reader.  Obviously, since I crave the respect and acceptance of others, I bolted into my room to begin reading.  The story in question is only sixty odd pages long, but it is full of turgid, complicated prose that seems to me moving one way before venturing into another.  However, much of the story was about statistics, so needless to say I was hooked.  An hour or so after starting, I emerged from my bedroom triumphantly, approaching Tyler only to remark, “This guy is fucking nuts.”  Obviously New’s response was to smile back and say, “I know, right!”  I could understand Tyler’s apprehension with the story.  Not only did it rely heavily on various math related topics, but it also seemed to be moving in eight directions at once, never to conclude any of the various story lines that littered its pages.

But getting back to my point from the beginning of the post.  My dad, as well as 95 percent of the reading public would agree that Foster Wallace was needlessly complicated.  If he only toned down his language and wrote in a more accessible style, he could have been somewhat of a mainstream success, as can be seen by his inventive and unique stories and outlook on life and culture as well as the hilarious one-liners throughout his works.  In the words of Rick, “He doesn’t need to be Elmore Leonard or Faulkner, but just tone down the density!”  But dad, that is just the point.  David Foster Wallace was a crazy person.  He wanted his voice from his writing to match that of the voices in his head.  He could not write any other way.  Not every author writes for the masses, sometimes they must write for themselves and find an audience later (something that DFW had successfully done, as he now has a huge cult following).

Foster Wallace’s magnum opus is a near-impenetrable thousand plus page behemoth called Infinite Jest.  There are hundreds of endnotes that disrupt the narrative and hundreds of characters that the reader is challenged to keep straight.  There is even a website and message board for those who need guidance through the book (www.infinitesummer.org).  It seems obvious that Foster Wallace wrote the book so that readers could see what it was like to get into his mind, only to completely misunderstand what was going on.  I have yet to delve into Infinite Jest, but once I do, I will be sure to keep you, dear readers, abreast of my progress, as slow as it may be.  Until next time.

Update:

The following is a response to Cooper’s comment below.  Be sure to read it first.

I agree with you on the point that any sort of writing should not be judged on the biographical information on the author.  I believe, however, that you misconstrued my argument here, probably because I was not clear.  So allow me to clarify.  When I say crazy or insane in my previous post, I was not alluding to him being “certifiable,” that he needed to be committed, but rather that this man’s brain worked in a different way than the rest of ours, as you did allude to somewhat in your response.

I only recently got into Foster Wallace, but I have voraciously consumed his oeuvre, focusing mainly on his short fiction and a little bit of his non-fiction (it appears that you have mostly been looking at his non-fiction).  In fact, just today I purchased Infinite Jest, although I think that I need to take a little break from the author before I delve into that one.  Now, I am not giving my reading list to prove that I am an expert on the author, as that is quite the contrary.

I think that it is now important that I lay out some information about myself in regards to future posts about books and their authors.  I am not, in any way, shape, or form, an expert on literary analysis.  In fact, during my three and a half year college career, I did not take one class that required any sort of engagement with fiction in the form of the written word (thus discounting the three film classes I did take).  I have always been an active reader, but only in the last few years have I looked at books in order to critique, especially when reading different works from the same author.  As we all know, in film, there is the theory of the auteur, and I believe that such a thing exists in literature as well (I guess that this is extremely obvious, so much more so than in film, but I am looking more at common threads that can be found throughout all of an author’s written work).

What I have found with Foster Wallace, is a man that is constantly questioning the way that he connects to the outside world, whether it be manifested through mainstream media consumption or the player on the opposite side of the tennis court.  His juxtaposition of narrator (who always seems to have multiple streams of thoughts running through his mind at once) and the people who interact with the narrator are extremely unique, and if not unique, than much more exaggerated than many similar authors (he is routinely compared to Pynchon and Gaddis, the latter of whom I have never read but plan to).  It is in this way that I say that the man is crazy: I feel that the similarities in the way that these various characters judge themselves and others as well as in the way that they see the outside world are extensions of the mind of the author.  It seems way too apparent in the works that I have read for this not to be true.

Maybe I am just misconstruing the man’s work (this is probably true, but I like to think that I am right).  All that I know is that he was just as big of a math geek as I am as can be seen by the amount of complex mathematical jargon that peppers his work.  In my opinion (dangerous words, I know), Foster Wallace appears to have an analytical approach to his writing both in narrative as well as character archetypes.  I did withdraw from my Intro to Analysis course halfway through the semester, but I was in it long enough to know the approach to a proof.  Foster Wallace appears to approach all of his short work like these proofs:  He begins with an idea and unravels it until he has gotten to the root, looking at all available approaches while keeping an eye out for contradictions.  In this way, he is able to critique modern society in a unique way that seems to flow in one regard while being unbearably dense in another (just like you would feel reading through a mathematical proof, since I assume that you, reader, have never done just that).

Sorry about the rant, but I do believe that it is important to regard the type of person the author is (which is derived by biographical information) when considering the entirety of their work (or at least a large chunk of it).  I am not pretending to be an expert here, but rather just describing things the way that I see them.  Obviously I am looking more at form and function rather than themes, but that is just the way that my analytical mind works.  In hindsight, “crazy” and “insane” were poor choices of words.  Rather, I meant to highlight how Foster Wallace’s brain works in a slightly different way than the normal person, deconstructing each situation as if he were preparing to write a proof on why it is there.  In fact, I just finished one of his stories (The Suffering Channel) where he spends no less than five pages discussing the pros and cons of shitting and farting in regards to relationships and proper manners.

I hope that this update elaborated a little bit more on my thoughts on the author and did not seem like nonsensical ramblings.  I also encourage more readers to disagree with me in comments like Cooper did, as this is a learning experience for me.  Don’t worry, not all responses will be this long, unless there are some important things that I feel the need to point out (like my lack of literary analysis experience).  So Cooper, thanks for reading, and I completely agree with your thoughts on the picture.  Not all of you guys are special enough to get a thousand extra words out of me.  Reading this over makes me want to leave you with one of my favorite Arrested Development quotes: “Oh [Jeff], you blowhard!”

A Nod to the Interrogative Mood

I will keep my intro here short.  The following is the first piece of what I hope will be many for this site from my friend and current roommate Tyler Newhouse, writer extraordinaire.  I’ve known him for three and a half years and lived with him for six months and still have no idea what is going on inside that mind of his.  My hope is that his contributions to the site will shed some light on the subject.  Without further ado, away we go.

How would you grade your grip on reality?  And is there such a thing? Are you wary of walking on wet steps?  Would you rather visit Electric Ladyland or meet Ziggy Stardust?  Are you red or blue or colorblind?  If you were ever to meet an amusingly short man with a baldhead, would you want to rub it? Are you a shoe chick or a sneaker guy?  When you see the sagging bag ladies entrenched on fall park benches, do you ever consider stopping and having a chat?  Do you truly appreciate Bogart?  Or do you watch for Bacall?  Or don’t you watch at all?

Are salad-eaters delicately feminine, heroically conscious, or sexually repressed?  How do your urges dictate your life?  Can red wine accompany fish, and isn’t it more American to drink beer?  Was that a very European question?  Have you read the classics, and what are they?  After eating cotton candy at a baseball game, for how many innings do you lament the condition of your fingers?  Are you plagued by electronic difficulties, so much so that you drift into fantasies of Romantic simplicities?  Or do dream of face burning furors, taking a clawed hammer to a hard-drive, yanking open a third story window, watching information shatter below?  Do things that buzz excite you?

In an effort not to be presumptuous, I ask, are you excitable?  Why did I create a break between those paragraphs?  Those thoughts?  Do you think I hold the answer to that question?  Are you cellular or hard-lined?  If you eat peanuts, do you prefer them honey roasted, or simply salted?  As a child, did you ever stick your finger in the socket?  Were you reprimanded?  Do you prefer beauty or intricacy?  And are you comfortable with intimacy?  And to really dig deep, how is your hold on your sexuality?  Have you ever used Craigslist?  Should an armchair be functional or colorful?

Do you speak a second language?  Would you like to learn another?  Is a tale, a story, a piece, a life, translatable, or does the transition lose something in the tongue’s heart?  What importance do you place upon the texture of food?  If a young girl has a lisp, is she special?  Would you dance to my music?  Does that encroach upon issues of trust, or faith, or promise, or talent?  If B.C. were changed to B.J. would you laugh in History?  Do you laugh?

Do you read?  Do you hear?  Do you listen?  Are you a sponge, and if I squeeze you, will society, rife with its inherent oddities, ooze over my knuckles until my sink overflows with lust and vice, like dishwater after bacon stew?  Have you ever found solace, relaxation, in the sound of a twelve-pound bowling ball diving across lane-long, hard wood panels?  Would you consider yourself a character?  One worthy of an artist, a writer?  Are you tired of me asking these questions?

Or, are you at least curious to delve into their assorted answers, to challenge the quiddity of others, as well as your own reality?

These questions, and many more, will be further explored in the weeks and works to come.  My hope is that with each we will grow, and perhaps learn, chuckle, and perhaps laugh, we will explore, and on your own, I hope you will find.

Here’s to the start: Cheers.  There we are.  Now where are we?

 

Music or Lyrics?

Creepy looking music star

So yesterday, since I don’t really have too much to do before I start working, I was enjoying some day drinking and socializing with my roommate Jeff, my friend Danny, and one of his friends that I had not previously met, Alex.  We decided that we wanted to listen to some music and felt in a Dylan mood, as I at least usually am.  I only have two Dylan albums on vinyl, Highway 61 Revisited and Blood on the Tracks, so we had to choose between those two, eventually landing on Blood because Alex had never really heard it before, although either choice obviously would have been good with me.

As we worked our way through the album, we began talking about the virtues of vinyl vs. a digital medium (mp3, cd, etc.) that eventually, as these substance-riddled conversations usually do, led to a discussion of the differences between popular music today and popular music in the late 60’s and early 70’s.  This is a huge topic, so here I am only going to scrape the surface.  Our conclusion, basically, was that popular music today is all about dancing, how good the beat is.  What else could explain the appeal and popularity of the Black Eyed Peas (sorry about my music elitism here, but this is my site, so deal with it)?  The words are secondary to the music, only looking for what sounds good with the music.  Essentially these songs are constructed first as beats and then fleshed out to include lyrics.  This is not a criticism, but rather just something that I seem to have noticed.  As I write this, the Billboard top 10 includes Lady Gaga, Michael Jackson, Taylor Swift, and the Black Eyed Peas (also included are the Hope for Haiti album, Susan Boyle, and a Barry Manilow compilation of love songs).  Obviously the main music audience, young people, is not buying Barry Manilow or Susan Boyle.  The people buying those albums are older people that most likely remember the time when Dylan was one of the most popular artists in the country.  Thus, the industry has shifted towards a more dancey sound, for better or for worse.  Dylan’s lyrics were forceful, poetic.  I don’t think anybody would ever consider will.i.am a poet of any repute, save for perhaps Jordan Roberts.

Agree?  Disagree?  Either way, we should watch out, because soon we could be overrun with artists like this.  Yuck. (Side note, watching this makes me wonder how I am not a successful musician because these people, including Katy Perry, have no talent whatsoever.  I could probably write a beter song and I don’t even play any instruments.)