Tag: Discuss

  • Deconstruction & Design

    Scamble and Cramble Cover DesignIn the process of deconstruction we discover new ideas. We need not start with a design in hand. We don’t necessarily need a plan. Unless, of course, there is some destination we are particularly interested in, we need to get to. If that’s the case, we’ll usually find ourselves on the wrong path, wrong way on a one way street, people barking directions at us, flipping us off. But if we begin with deconstructing that destination, we often find we discover interesting things along the route we end up taking we would have otherwise missed. There will be constraints. Fences and gates. Do Not Enter signs. No Solicitors. Beware the Dangerous Critic!

    At the same time, we shouldn’t be afraid to ask for directions, listen to our critics, gather advice, ask for consent, patience, forgiveness of our trespasses. That the severe critic may be lurking behind the next corner, hiding in a recessed alcove doorway, spitting sunflower seed shells from an open second story window, pulling us over to ask for license and registration – that the severe critic lurks in the shadows of our path is a good thing. The critic keeps us awake when we might otherwise fall asleep, and reminds us of our responsibilities to audience, sense, time, and place, direction, design, and deconstructions.

    Coming Soon!

    Common keyboard signs and punctuation marks become characters in this experimental children’s book for readers of all ages. Scamble and Cramble are two cats observing, interpreting, and commenting on daily events. Other animals come and go, too, changing with text and form and story. “Scamble and Cramble” may work best for independent middle grade readers. Younger children may enjoy perusing the book with an older guide. The book’s Concrete Poetry techniques use standard keyboard symbols and readily accessible font types and sizes. Readers may be encouraged to explore more the world of concrete poetry.

    • Paperback: 108 pages
    • Publisher: CreateSpace Independent Publishing Platform; 1 edition (June 24, 2016)
    • Language: English
    • ISBN-10: 1533501084
    • ISBN-13: 978-1533501080
    • Product Dimensions: 5.2 x 0.3 x 8 inches

    Scamble and Cramble
    Two Hep Cats
    and Other Tall Tales

  • Division Alt Guitar & Junior Brown

    Junior Brown
    Junior Brown at Aladdin Theater Pic from Balcony

    Junior Brown plays an inventive, alternative guitar: method, form, and style. Brown is a rockabilly virtuoso, as in jazz guitar, Joe Pass was expert, where skill matures into virtue.

    Junior plays a custom designed and built two-neck guitar that he plays behind a stand rather than hanging from a strap around his shoulder. The setup looks like a piece of railway wheelhouse. The top of the instrument is a six string, Fender style neck that’s affixed to a body that melds below into an encased eight string lap steel slide guitar. He doesn’t exactly play both necks at once, though there may be some looping going on, but the two neck setup allows him to quickly switch back and forth from one neck to the other – seamlessly, is the word.

    And he switches necks while singing a couple of octaves below Hank Williams and half hidden under a Tom Mix style ten gallon cowboy hat. If Brown simply sat in a chair and played, he’d be something like classical masters Segovia or Julian Bream, but Junior Brown is a showman.

    Saturday night, at the aged Aladdin Theater in Portland, Junior was backed by a stand up bass, a drummer playing only a snare and a single cymbal, and an acoustic rhythm guitar. The instruments were miked through large vintage Fender amps and mixed through the Aladdin’s speaker system. The instruments were clear and not too loud, but Junior’s voice sometimes had that muffled loudness button on sound from a mike set too loud, but that could have been where we were sitting in the small hall, about six rows back eye to eye up from the stage left big speakers.

    I’m working on a reverse bucket list. That’s a list of things I’ve done but don’t ever want to do again. High on the list is attending an arena big concert. And small venues should play like, well, small venues, which means turn off the loud button. Other things on my reverse bucket list include working a jackhammer, climbing up on the roof to scrape off the moss, and worrying about how my academic colleagues might judge my writing.

    We arrived at the Aladdin as the doors were opening, double lines divided north and south of the alcove entrance beneath the marquee. We had just disembarked from Line 4, the SE Division St bus, having walked a mile or so south to pick it up and another 1/3 of a mile across the old train tracks and the new Orange Line Max tracks, past the dozen or so level grade crossing bars, along the new custom walkway through safety gates and fencing, following the pedestrian pavement guides, where SE 11th and SE 12th merge into Milwaukee Avenue, and crossing big Powell Boulevard, where traffic gears up or down for the Ross Island Bridge across the Willamette River. A kind of new dividing line now emerges in one’s understanding of the changing cityscape, signaled as the difference between old bridges like the Ross Island Bridge and new bridges like Tilicum Crossing, the 135 million dollar “Bridge of the People.” There’s no less friendly pedestrian crossing than the Ross Island (indeed, it’s not that friendly to cars and trucks crossing), while the Tilicum accommodates only pedestrians, bicycles, buses, trolleys, and light rail – no cars, no trucks. The Tilicum is like a giant sailboat compared to a tugboat Ross Island.

    Division Street’s Line 4 is much slower than Belmont’s Line 15, people on and off at nearly every stop, the traffic on Division as slow as a mournful church pipe organ. If you want to see a neighborhood in transition, from vintage and standard to gentrified and cantilevered apartment-ed, from dive bar drinking dens to posh diva dressed restaurants where mayonnaise is called aioli, and where even the food carts serve amuse-bouche appetizers, and all a kid needs to feel amused is an outside bench and a tall-boy PBA, check out SE Division between 52nd and 11th.

    Kory Quinn with full band opened the show ahead of Junior Brown. We were somewhat divided on our first hearing of Quinn, his songs, banter with crowd, and sound. I thought the band was tight, listening to one another, the songs well written and orchestrated, but the overall system sound mix did seem a little full at times, the lyrics difficult to catch hold of in the loud medley of sound, some subtleties overwhelmed. That may say more about my old ears than about the young band. But if you like standing on the rails, a train of country hill delta musicians coming down the track all rattling away at once at full speed and volume, this is your band. Sorry I didn’t get nor can I find all the musicians’ names, but we heard an excellent harmonica player, good harmonized vocals, great lead guitar work from Michael Howard, solid bass and drum foundation, plus pedal steel. Kory Quinn’s band was mulit-task-talent party on.

    But speaking of party on, back on the bus back on Division Street, the last weekend of 2016 spring was in full bloom. Folks hopping on and off the bus, standing in line to get a beer, an ice cream, a meal, hang out, listen to some local live music. There were possibly more people in line for the new Salt & Straw ice cream scoop shop as we found waiting to get in to see Junior Brown at the Aladdin. LA Larchmont district here in Portland via SE Division Street. Not quite, of course, but hyperbole is close friends with curiosity. And what’s curious about SE Division Street these days is where it might be going, and what it might continue to divide.

    Junior Brown puts on a show, and while he might mimic sounds and styles, he does not lampoon, though he is open to satire. Late in his show, he played a haunting and halting blues piece after which he named Albert King as his inspiration. And he played the surf medley and some “Apache,” though Junior’s version of “Apache” sounded not so much like the Joe Pass versions. Junior finger and flat picks at once, slides with a metal tube, winds his strings up and down for effect, coming back in tune every time. He fidgeted with one of the amps a bit, not sure why, gave the vocals over to rhythm guitarist Tanya Rae Brown, highlighted his snare-drummer and bassist, came back to a standing ovation for a lengthy encore of songs.

    There was no encore on SE Division as we headed back east on Line 4 after the concert. Everything seemed closed, places all shut down, the sidewalks clear. We had thought of jumping off somewhere to get a late bite to eat. We walked into the Woodsman Tavern, but were turned away by a benevolent waitress who explained the kitchen was closed but suggested we try the Landmark Saloon up the road a piece. We walked into the Saloon to a full tilt bluegrass band. But what’s remarkable about Landmark Saloon is the open patio space with food cart, where folks were just hanging out at the picnic tables, in front of a tall-boy PBR, a sweet smelling outdoor fire keeping a group around a small pit warm and friendly. But alas, we were still a bit late for food from the cart. He was still open, but the list of things he was out of was longer than what he had left to still serve up. We enjoyed the patio for a few more indecisive moments, then continued walking east to North Bar.

    I’m not sure why North Bar is named North Bar since it’s in South Tabor in Southeast Portland. Well, it’s north of Larchmont, anyway. And a good place for a brew, but probably not a late bite, so we headed north up 50th to Hawthorne, rounded the corner, and ducked into the Sapphire Hotel, where we feasted on late night salmon cakes and beer and talked about Junior Brown and Kory Quinn and SE Division and Line 4 and wished one another a happy father’s day as we realized we’d crossed the night divide.

    We left the Sapphire and continued north thinking we’d get a lift on Line 15 up the hill. Didn’t happen. Walked all the way, crashing well after midnight, thinking of what an epic post the evening gig down and up Division to the Aladdin and Junior Brown might make.

     

  • Things to Do in the Twenty-First Century

    CapitalI had thought Thomas Piketty’s “Capital in the Twenty-First Century” would be one of those books I would continue to read about but would probably not read first-hand. At 685 pages, its great strength data, its cost new $39.95 (speaking of wealth and distribution), the French economist’s thick tome was not on my list of books to keep an eye out for, let alone add to one of the several stacks of books to read already piled about the house. Piketty’s book is a stack of its own.

    In an Isaac Chotiner interview with Piketty at the New Republic , Piketty himself speaks to to the difficulty of reading such books:

    IC: Can you talk a little bit about the effect of Marx on your thinking and how you came to start reading him?

    TP: Marx?

    IC: Yeah.

    TP: I never managed really to read it. I mean I don’t know if you’ve tried to read it. Have you tried?

    IC: Some of his essays, but not the economics work.

    TP:The Communist Manifesto of 1848 is a short and strong piece. Das Kapital, I think, is very difficult to read and for me it was not very influential.

    IC: Because your book, obviously with the title, it seemed like you were tipping your hat to him in some ways.

    TP: No not at all, not at all! The big difference is that my book is a book about the history of capital. In the books of Marx there’s no data.

    But I was wrong. First, fortune brought “Capital” my way. I was walking down to a distant mailbox (like newspapers disappearing, so too are the neighborhood mailboxes). On my way, I looked into our local library box. Only about five or six books. The Believer magazines I’d dropped off the other night were gone. But there at the end of the top shelf in the library box was Piketty’s “Capital.” I picked it up. Looked unread, brand new. Weighed about five pounds. Would it still be there in the box when I got back from dropping off my mail? I glanced through it. Couldn’t take that chance. Not with this kind of fortune. So I walked away with it, feeling a bit guilty though because I knew I might not actually read it, those stacks of unread books about the house already weighing upon me like a seven course meal when you’re not really all that hungry to begin with.

    But I was wrong. Second, the book is not all that hard a read. While it probably won’t make anyone’s top ten common reader list, Piketty’s book is clearly written, concise, with well-wrought sentences, and full of remarkable insights and surprises. Consider this paragraph, the subject of which (experiential, anecdotal, or empirical data) revitalizes the current humanities in crisis folderol. Piketty says,

    Intellectual and political debate about the distribution of wealth has long been based on an abundance of prejudice and a paucity of fact.

    To be sure, it would be a mistake to underestimate the importance of the intuitive knowledge that everyone acquires about contemporary wealth and income levels, even in the absence of any theoretical framework or statistical analysis. Film and literature, nineteenth-century novels especially, are full of detailed information about the relative wealth and living standards of different social groups, and especially about the deep structure of inequality, the way it is justified, and its impact on individual lives. Indeed, the novels of Jane Austen and Honore de Balzac paint striking portraits of the distribution of wealth in Britain and France between 1790 and 1830. Both novelists were intimately acquainted with the hierarchy of wealth in their respective societies. They grasped the hidden contours of wealth and its inevitable implications for the lives of men and women, including their marital strategies and personal hopes and disappointments. These and other novelists depicted the effects of inequality with a verisimilitude and evocative power that no statistical or theoretical analysis can match.

    Indeed, the distribution of wealth is too important an issue to be left to economists, sociologists, historians, and philosophers. It is of interest to everyone, and that is a good thing (p. 2, Introduction, A Debate without Data?).

    And we learn on page 24 of Piketty’s book (Figure I.I) that income inequality in the United States (1919-2010) was at its lowest between the years 1950 to 1980. From 1980 to today, income inequality in the US has grown steadily, and is now higher than it was during the Great Depression years. Those 30 years of comparative stability (1950-1980) allowed for a sharing of accumulation of capital and knowledge unprecedented and not seen since. The US working class achieved a remarkable degree of middle class provisions, its children went to college in unprecedented numbers, without incurring today’s debt for education, but today nearing or in retirement may be returning to its roots.

     Today’s library box held only three books, none of which I picked up: “A Nun on the Bus”; “Jesus for President”; and “Bernie Sanders: an Outsider in the White House.”

  • Memorial Day Excerpt from Penina’s Letters

    The following excerpt is from the “On Television” chapter of Penina’s Letters.

    I drove my truck with Malone down Vista del Mar and up Grand Avenue into El Segundo. The Chippys lived in one of the old refinery-worker houses just over the sand dunes. We turned off Grand and drove slowly down their street. Through the side yards we could see where the sand had been sliding down the dunes and spilling through twisted, wood slat fences into the back yards. We stopped at Tom’s house and climbed out and walked to the front door and knocked.

    Mary Chippy, Tom’s mother, answered the door, looking distracted, but when she saw who it was, she gasped and threw open the screen door, coming out and grabbing me into her arms, and Tom’s dad came to the door to see what all the commotion was about. Mary held my face in her hands and stared into my eyes.

    “Look, look who’s here, Ray,” Mary said, “home from the war.”

    They invited us in, and Malone and I filled their living room couch. The little couch smelled of lavender, the pillows covered with fresh, ironed linen. The room was clean, and barely looked lived in, not a speck of dust or sand on the hardwood floor, as if they had been expecting guests. Mary sat awkwardly down in her rocker, across from us, pulling her short housedress down over her thighs. She was a narrow, small woman, all elbows and knees and ankles, but with the face of an overripe peach. Her fingers and hands were wrinkled and twisted with arthritis. Her long hair was tied up in a tight, grey bun. Next to her, Tom’s dad, Ray Chippy, fell heavily with a sigh into his overstuffed easy chair. He sat with his big hands cupped over the arms of the chair. He wore a buzzcut, and his big, tanned head looked like a bronze sculpture.

    Tom’s mother said how good I looked, and his dad agreed, and said it looked like the war had done me no harm, but said of course he knew that was probably not true. I started off calling them Mr. and Mrs. Chippy, but they said no. They would feel more comfortable now if we called them by their first names. They asked how Puck was doing, and said they had not seen him since the funeral, but had read an article in a local shopping guide about how his surf shop was getting popular, but it was soon clear they wanted to talk about Tom.

    “One night, we was watching the war on the television,” Mary said, “and that’s how we come to know he’d been hurt.”

    “I used to watch the war on television every night, every night,” Ray said, shaking his head slowly back and forth.

    “And then, one night, Suzie yells, ‘There’s Tom’! In the war, on the television.”

    “I was sitting right here, and I saw him,” Ray said, pounding the arms of his chair, “camera right on his face. You wonder if something like that’s gonna happen, if you’ll see somebody you know, but you never do, but all of a sudden, wham, there’s our Tom.”

    “They was carrying him on a stretcher, running to a helicopter,” Mary said.

    “Stooped over, stumbling, weighted down with equipment.”

    “One of them was holding up the bottle with the tube coming out of it,” Mary said, holding her hand over her head to show us.

    “You could see the high grass,” Ray said, “blowing in the wind under the chopper blades and hear the blades spinning and all kinds a noise, guys yelling.”

    “Then the camera went back to the news desk. And what could we do but just sit here, like we was knocked out, not knowing what had happened, how bad Tom was hurt.”

    “We waited for something more,” Ray said, “but it was just another night of the war on TV, and as soon as we heard Cronkite saying, ‘And that’s the way it is,’ we turned the TV off and tried to make some phone calls. We got a hold of the Red Cross, and they called us back the next day.”

    “They tried to save him, but it was too late,” Mary said, “too late for Tom.” She reached over and touched Ray’s hand, but he pulled it away.

    “Poor Suzie,” Mary said, “she like to faint dead away, all that waiting around for Tom to come home, storing things up for when he got back, playing around in her hope chest, making all kinds of plans, and suddenly see it all come to nothing like that. She used to come over near every night and watch the war on the TV with us.”

    “Hell, she’s already found herself somebody new,” Ray said. “But that’s the way things should be. I don’t fault her none, needing to get on with her life. You know what I mean. What the hell’s she gonna do hanging round here, spend all day unfolding and folding his letters?”

    “I’ve saved his letters and his pictures and his flag, but we don’t like to display them out,” Mary said.

    “But I do miss Suzie, too” Ray said. “Don’t get me wrong, now.”

    “I miss them both,” Mary said, rubbing her hands together in her lap, rocking quietly back and forth for a few moments.

    “I’m sorry Tom didn’t make it back,” I said, looking first at Mary then at Ray.

    “Grab us some beers, why don’t you, Mary?” Ray said, and Mary got up and went into the kitchen.

    “The hell of it is, Sal,” Ray said, leaning forward and whispering, “is that Tom got hit by what you call that friendly fire, you see. That’s the truth of things. That’s what got him. Not that it matters, but did you know that, Sal?”

    “I don’t know. Things did get confused sometimes. But it’s hard to say.”

    “Don’t say nothing about that to Mary. It would just open up her bleeding heart all over again.” He leaned back in his chair again.

    Mary came back into the living room, her arms full with three beers and a Tupperware bowl full of potato chips.

    We drank our beers and snacked on the chips.

    “Tom, now, he’d of liked some of the jobs I been working lately, up in the canyons. You know what I mean,” Ray said.

    “Yeah?” I said. “Have you been up in the canyons?”

    “Oh, yeah,” Ray said. “Up Topanga, I been. Up Malibu. I’m just now on a job, we can see the ocean. I climb up to the roof and eat my lunch and take my shirt off to work off this farmer’s tan, you know. Tom used to always kid me about my farmer tan.”

    “I don’t want you climbing up on no more roofs no more,” Mary said.

    “Ah, hell.” Ray took a long drink of his beer. “And you can smell the licorice bushes up there, you know what I mean, the air full of the hot canyon smells. And the air so fresh and wet in the morning but by the afternoon all hot and dry. We work until the sun starts to go down, and we drive down to the highway and get us a beer at one of the bars on the water. Yes, Tom would have loved these jobs up in the canyons with me.”

    We were quiet again, and the room felt smaller. Mary dropped her hand down into a basket of yarn next to her chair and squeezed one of the balls of yarn. Then Ray got up to go into the kitchen, and we knew he was crying. Mary stayed a moment then got up to go into the kitchen.

    “Jesus,” Malone said.

    “Yeah,” I said.

    An onshore, late afternoon breeze was now coming through the house, drifting down the dune behind the house and coming through the kitchen window, curling through the living room, and passing out the front screen door. We could hear the Chippys whispering in the kitchen. We finished our beers, sitting on the couch in the living room in silence.

    Tom’s parents came back into the living room. I did not want to look into their eyes, red and watery, their faces worn and worried looking.

    I stood up before they could sit back down and said, “Well, we just wanted to come over and say hi.”

    “Thank you, boys,” Ray said. “Thank you.”

    Malone got up and said, “Thanks for the beer.”

    “You boys are welcome here anytime,” Mary said, “anytime.”

    “Tom was a hell of a carpenter,” Ray said. “Know that?”

    “Yes, sir,” I said. “I do know that.”

    “Why, he could drive 16 penny nails, sinking the heads flat in three swings, leaving no hammer mark, all day long,” Ray said.

    He reached out and shook my hand, and his hand felt like an open-end wrench, hard but worn smooth. He did not fully open his hand.

    We stepped to the front door and went out. We turned to say goodbye to them. They were standing in the open door. Ray went back inside, but Mary walked out to the truck with us.

    “Sal,” she said, touching my arm. She stopped and looked back at the house.

    “I just want to tell you.” She paused again, looking into my eyes. “There are no jobs.”

    “I don’t understand,” I said. “What jobs?”

    “Ray has not been working any jobs in any canyons. Ray has not worked since the day we met Tom’s body in his bag coming off the plane from the war.”

    I looked at Malone. We looked at Mary.

    “I just think you boys should know the truth of things,” she said.

    She stood at the edge of the yard and watched us get into the truck. She took a short step forward and waved and brought her hand to her mouth and covered her lips with her fingers as we drove away.

    …excerpt taken from Penina’s Letters.

    Peninas Letters Front Cover
    Front Cover
  • Coconut Oil – A Novel Book Launch

    Salty and Penina, the war torn, young couple from “Penina’s Letters,” return to Refugio in “Coconut Oil,” a sequel.

    They come home to Refugio (the fictional beach town located north of El Porto and south of Grand on Santa Monica Bay) in an attempt to retire a bit early. So forty or so years have passed since the close of “Penina’s Letters.”

    Salty is again our first person narrator. But “Coconut Oil” continues an experimental narrative form, and Sal hands the mic off to several other characters as we are brought up to date on Refugio.

    The themes of “Coconut Oil” include aging, housing and homelessness, gentrification, and how we occupy ourselves over time. The form is experimental in a way a common reader might enjoy.

    The paperback version of “Coconut Oil” is available now, and the electronic version should be up next week.

    The back cover photo for “Coconut Oil” was taken from the northbound Coast Starlight train as it passed by the point at Refugio Beach, California, a campground about 26 miles north of Santa Barbara. The photo was taken sometime in the late 70’s.

    Refugio from Coast Starlight
    Refugio from Coast Starlight Special

     

  • Coming Soon! Coconut Oil, a New Novel by Joe Linker

    Jonathan Swift’s 1729 essay, “A Modest Proposal,” argues a single solution to homelessness that Swift proudly suggests would provide a host of beneficial side effects. Satire is sometimes hard to get, or hard to take, the difference between satire and farce being that satire aims at a target. One might today imagine a certain presidential candidate coming up with a proposal like Swift’s that many might take seriously, missing the satirical target – and that would be farcical.

    Of the critical reviews appearing for “Penina’s Letters,” several stand out for their clear and concise but right-on insight into the book. Lisa, a family friend from the Vatican Hill days, posted a picture of “Penina’s Letters” being read in a swimming pool in Cabo with the comment:

    “So this was a great read – hit on some serious issues – but I enjoyed the ride – and still can’t figure out where 48th Street is located.”

    Lisa’s comment hits on significant aspects of the book – how do we treat serious issues in fiction that is also intended to entertain? And she joins in the fun by wandering around looking for a fictional street she knows doesn’t exist.

    My friend Dan posted a longer review to his blog, and when I thanked him in an email, he wrote back,

    “It’s a very good novel.”

    Dan’s a reader, suffers no delusions about stuff, and is thrifty with his complements.

    Meanwhile, over at Youssef Rakha’s Cosmopolitan Hotel site, Philippa Rees has this to say in a comment:

    “Hugely atmospheric, and sharply conveys the sightly abrasive affection, the wind and the sand papering the uncertainty. Enjoyed the drive to the ocean.”

    And under the “Penina’s Letters” excerpt published by Berfrois, Philippa wrote:

    “An underpinning of real harrowing tension in this. Could hardly bear the savage exposure of the truly private in a ribald public arena. There are some crimes of insensitivity that merit the return of the stocks!”

    Also meanwhile, my Facebook friends had a bit of fun posting pictures of their copy of the book, being read or held or posed at various locations, including Mexico, France (on a Kindle in Paris), Montana, airplane to Los Angeles, dashboard of car in Sellwood, Studio City, Minneapolis airport bookstore, in the woods above Los Angeles, on an office desk near the Willamette, a deck in Bend, Voodoo Doughnuts, a pool room in Portland’s Hawthorne neighborhood, a bike repair apartment in Seattle, outside the Mojave Cancer Center, a very cool San Francisco pad, a neighbor’s house on 69th, a laptop with Instagram photo in Aloha, another sitting out in the yard on a warm day on the west side, on a table with the rest of the mail in Ione, on a shelf at Em’s with her cookbooks, Warren’s place in North Portland, a desktop in El Segundo, on a quilt in Barstow, and please let me know if I missed one, because what a great marketing idea!

    Anyway, I was encouraged by the reader response to “Penina’s Letters.” The novel may not be what many expected it to be. And most readers seem to intuit that we probably should not criticize something for not being what it was not intended to be. It’s also hard to finish everything we pick up. I get that. I’ve nearly always got a dozen or so books and magazine articles in disarray around the house in the process of being read, but then there’s always something that pulls you to it, and you wind up finishing it before anything else. That’s maybe a good definition of a good read.

    And I was so encouraged by the reader response that I’m now announcing the sequel to “Penina’s Letters,” called “Coconut Oil.” Please don’t think I wrote “Coconut Oil” in a couple of months. Like “Penina’s Letters,” “Coconut Oil” is a final (Beckett said abandoned) draft of years of writing and reading work. As Cornel West said in “Examined Life,” “Time is real.” So I finally decided to “light out for the Territory,” though unlike Huckleberry, ahead of hardly anyone else.

    I’ll let you know when “Coconut Oil” is ready to launch!

    Oh, yeah, that bit above about Swift’s “A Modest Proposal.” That has to do with “Coconut Oil.” You’ll see.

    Meantime, thanks to the readers of “Penina’s Letters”!

    IMG_20160417_143645
    on Hawthorne Blvd

     

     

  • A Concrete Poem at VERStype

    The concrete poem, “A Visual Depiction of the Chapter ‘On a Surfboard in Santa Monica Bay,’” published yesterday by VERStype, is an illustration that might appear somewhere in the sixth chapter of “Penina’s Letters,” were the novel a comic book. There are no words in the poem. The poem is composed primarily of tildes.

    “A Visual Depiction of the Chapter ‘On a Surfboard in Santa Monica Bay’ [from the novel “Penina’s Letters”], VERStype, 20 May 2016.

  • The Hep Cat Book Club

    IMG_20160513_072133What are we reading?
    Joe wrote a book.
    Really? What’s it called?
    Penina’s Letters.
    Who’s Penina?
    Are there any cats in Joe’s book?
    One, Castus.
    Hmm.
    I hear Joe’s working on a sequel.
    Tell him to put more cats in it.

    “Penina’s Letters,” get yr copy!

  • Book Review: Penina’s Letters

    Over at the It Kind of Got Away From You blog, Dan Hennessy has posted a thumb’s up review of my novel, Penina’s Letters. Paddle on over and check it out!