Tag: Santa Monica Bay

  • A Place of Gifts: On Foot from the Beach to Home

    We two boys stood at the edge of the road at the top of 45th high above the beach, where the slow moving two lane Highland (lined with spots we ignored as kids: vista apartments and curio shops, corner cigarettes and beer market, breakfast cafe and evening bar), turns into Vista del Mar and curves down to Grand, only about a mile away, but still we stuck our thumbs out to hitch a ride. We were on our way home from Junior Lifeguards, which was held on the beach near Marine, down from the big tower. We never caught rides thumbing, so we were surprised when some sporty car with jaunty driver pulled over coming to a stop some twenty yards past us and we ran to hop in but the car revved up and sped off wheels spinning in sandy grit just as we got close.

    I’ve been reading “A Time of Gifts,” by Patrick Leigh Fermor (subtitled “On Foot to Constantinople: From the Hook of Holland to the Middle Danube”). First published in 1977, when Fermor was sixty-two, it recounts the time in 1933, when Fermor, then just eighteen, left England for a wintry continent, outfitted with greatcoat, hobnailed boots, and commodious rucksack:

    “During the last days, my outfit assembled fast. Most of it came from Millet’s army surplus store in The Strand: an old Army greatcoat, different layers of jersey, grey flannel shirts, a couple of white linen ones for best, a soft leather windbreaker, puttees, nailed boots, a sleeping bag (to be lost within a month and neither missed nor replaced); notebooks and drawing blocks, rubbers, an aluminium cylinder full of Venus and Golden Sovereign pencils; an Oxford Book of English Verse. (Lost likewise, and, to my surprise – it had been a sort of Bible – not missed much more than the sleeping bag.)

    In the mornings, when the first-shift lifeguards opened their towers, the beach was grey-white foggy and cool-damp and the yellow sand stuck to your feet, the water dark-grey and the waves glassy and small and the blue of old fruit jars. At my parents’ house, 2 miles inland, walked in under an hour if you took the Devil’s Path shortcut and didn’t dawdle, the morning was open and clear and the air fresh and warm. The town was hilly and you had to cross the dunes to get down to the beach, which meant you had to climb back over them to get home, up the long Grand Avenue hill, but the afternoon breeze would be onshore and pushing as you walked before the wind.

    Travel descriptions can be confusing to read, to see the images as they develop on the page. One key to travel writing must be movement – in time and place. Still, how does the reader see the scene unfolding? I’m finding it helpful to pull up the places Fermor talks about in Google Maps, but of course consulting a map is not travel, nor does the map help bring forth the local. Maybe we’ve become too saturated with photographs to understand prose pictures. And while Fermor’s story takes place in 1933, the images I see seem older. I was reminded of scenes like the following, from Penelope Fitzgerald’s “The Blue Flower,” but which takes place in the late 1700s, and concerns Friedrich von Hardenberg, later known as Novalis:

    “From the age of seventeen he had been in almost perpetual motion, or the Gaul’s unhurried version of it, back and forth, though not over a wide area. His life was lived in the ‘golden hollow’ in the Holy Roman Empire, bounded by the Harz Mountains and the deep forest, crossed by rivers – the Saale, the Unstrut, the Helme, the Elster, the Wipper – proceeding in gracious though seemingly quite unnecessary bends and sweeps past mine-workings, salt-houses, timber-mills, waterside inns where the customers sat placidly hour after hour, waiting for the fish to be caught from the river and broiled. Scores of miles of rolling country, uncomplainingly bringing forth potatoes and turnips and the great whiteheart pickling cabbages which had to be sliced with a saw, lay between hometown and hometown, each with its ownness, but also its welcome likeness to the last one. The hometowns were reassuring to the traveller, who fixed his sights from a distance on the wooden roof of the old church, the cupola of the new one, and came at length to the streets of small houses drawn up in order, each with its pig sty, its prune oven and bread oven and sometimes its wooden garden-house, where the master, in the cool of the evening, sat smoking in total blankness of mind under a carved motto: ALL HAPPINESS IS HERE or CONTENTMENT IS WEALTH. Sometimes, though not often, a woman, also, found time to sit in the garden-house.” 57

    That prose was first published in 1995, when Penelope was seventy-nine, so around 200 years after the scene takes place. And in Patrick Fermor’s “A Time of Gifts” we see this:

    “I was plodding across open fields with snow and the night both falling fast. My new goal was a light which soon turned out to be the window of a farmhouse by the edge of a wood. A dog had started barking. When I reached the door a man’s silhouette appeared in the threshold and told the dog to be quiet and shouted: “Wer ist da?” Concluding that I was harmless, he let me in.” 73

    That traveller was Fermor, in 1933, writing in the 1970s, but could have been Novalis in 1795, described by Penelope in the early 1990s. And many travellers wanting to save their day’s journey in writing may have shared something like the following experience, here described by Fermor:

    “This was the moment I longed for every day. Settling at a heavy inn-table, thawing and tingling, with wine, bread, and cheese handy and my papers, books and diary all laid out; writing up the day’s doings, hunting for words in the dictionary, drawing, struggling with verses, or merely subsiding in a vacuous and contented trance while the snow thawed off my boots.” 66

    The title of Fermor’s book comes from a Louis MacNeice poem, “Twelfth Night”. From the last of four stanzas:

    “For now the time of gifts is gone –
    O boys that grow, O snows that melt,
    O bathos that the years must fill –
    Here is dull earth to build up on
    Undecorated; we have reached
    Twelfth Night or what you will . . . you will.”

    I haven’t reached the Abbey of Melk yet, which in Jan Morris’s introduction to “A Time of Gifts” we are told is the “central point of the narrative.” So more on Fermor’s travel’s in a later post. Meantime, I harken back to the time and place of the two boys walking home from the beach. They don’t have maps, nothing to denote, “You are here.” They really haven’t much idea where they are in time or place, nor can they fully grasp the gifts of either.

    Richard Henry Dana Jr, in his memoir, “Two Years Before the Mast” (1840), found at least the California weather a gift, and the beaches and waves. The following is from the “First Landing in California” chapter:

    “It was a beautiful day, and so warm that we had on straw hats, duck trousers, and all the summer gear; and as this was midwinter, it spoke well for the climate; and we afterwards found that the thermometer never fell to the freezing-point throughout the winter, and that there was very little difference between the seasons, except that during a long period of rainy and south-easterly weather thick clothes were not uncomfortable.”

    “I shall never forget the impression which our first landing on the beach of California made upon me. The sun had just gone down; it was getting dusky; the damp night-wind was beginning to blow, and the heavy swell of the Pacific was setting in, and breaking in loud and high ‘combers’ up on the beach.”

    And where was that place? And is it still there today? The Grand Avenue Beach Jetty (it’s now called El Segundo Beach) is located in the middle of Santa Monica Bay. It’s about 10 miles north from the jetty to Sunset Beach (not counting getting around the Marina), where Sunset Boulevard winds down out of the hills to the coast road, and it’s about 10 miles south from the jetty to Malaga Cove, on the north side of Palos Verdes, the cove part of the Haggerty’s surf spots. Santa Monica Bay, the flat Los Angeles Basin surrounded by hills, Palos Verdes to the south and Malibu and the canyons to the north, the beach cities in the south, oceanic stupendous views or at least close enough to the ocean to smell and feel the salt and surf in the air, breach the storms and storm surf, wander down to the beach the day after a “south-easter.” But the South Bay is also full of industry, and all along and up from the beaches from Marina del Rey to El Porto, the dunes are supplanted by pipes and tanks and asphalt grounds surrounded by chain link fences: the airport, the Hyperion sewage treatment plant, the steam plant, the oil refinery, the power plant. It’s a different kind of desolation than what Dana saw when he wrote of Los Angeles:

    “I also learned, to my surprise, that the desolate looking place we were in was the best place on the whole coast for hides. It was the only port for a distance of eighty miles, and about thirty miles in the interior was a fine plane country, filled with herds of cattle, in the centre of which was the Pueblo de los Angelos — the largest town in California — and several of the wealthiest missions, to all which San Pedro was the seaport.”

    After being tricked by the off and running car, we two boys put our thumbs in our pockets and walked back down 45th to the beach. Just up Highland a few doors, we could see the apartment my oldest sister would rent about eight years into the future, while my future wife lived a block over and down on 44th. At the bottom of 45th, we turned north and walked along the beach at the water’s edge beneath the power and steam plants, all industrial now, the beach path, north of 45th, prime real estate denied the developers, but we didn’t mind that, for here we were in a short stretch of beach able to avoid the tourist crowds and catch a few empty waves on our own. We reached the Standard Oil Pier and crossed under the big pipes and wood beams, kicking through the surf. I was still a year or two from my high school reading of “Two Years Before the Mast.”

    From the pier we walked to the jetty at Grand and then up the long hill past the steam plant and ice plant hillside that borders the refinery. We parted ways at Loma Vista and I continued down Grand across Main to the old railroad station then followed the tracks up and through Devil’s Pass to home, where I would find my mom making a watery spaghetti and sauce dinner, having found no time, no doubt, to sit happily in the yard in any place for any length of time.

    Above photos taken with my Exakta 500 I used at the time. The exact dates on some of the slides are sometimes so faded I can’t say for sure when they were taken, but likely from 1968, when I purchased the camera used from a camera shop on Main Street, into the mid 70’s, maybe as late as 1977 or 1978 (thinking too of a box of slides most of which are not shown here). The Standard Oil Pier has since been taken out, the pipe now underground, underwater. The pier was located between 45th, the last residential street in El Porto, and Grand, which comes down to Vista del Mar from El Segundo. I’ve posted some of these pics before at The Toads, but in a different context.

    Books referenced above include New York Review Books copy of Fermor’s “A Time of Gifts,” 1977, introduction 2005 by Jan Morris; and Second Mariner Books edition, 2014, of Penelope Fitzgerald’s “The Blue Flower” (1995). “Two Years Before the Mast” was published in 1840, just a few years after Dana had made the voyage described in his book.

  • Old Pic of the Day: Venice Beach Around 1970

    We walked out one morning to find an art installation up from the water, large paper wraps spread across the beach. They looked like sea creatures, dinosaurs, giant lizards of some kind. I asked Susan to stand in front of one to put an idea of their size into the picture. Susan has never liked having her picture taken, and she’s showing that in her pose here. We walked down the Strand for some breakfast, and Susan snapped a picture of Joan and Terri and me. I think we were using slide film in an Instamatic of some kind.

  • El Porto at Night

    Out of ocean back to sun
    slow purple tide drifts down
    darkness like a tidal wave
    floods and a dark fog falls.

    Strand partygoers barefoot
    swimsuit prance in sandals
    streets car-lined seldom trees
    dwellings cliche toe crammed.

    Sleep cans built on sand hills
    swept of seawrack the breeze
    the moon in her habit prays
    and down rains grace gently.

    Each drop 15% ABV the lifeguard
    says and turns on your nightlight
    what a concept and flies away
    into south Santa Monica Bay.

    In the distance the bass bob bloom
    of close-in closed out hollow waves
    like artillery shells down the line
    hear water mewling through shingle.

    In the morning late for the school
    bus stops for you up on Highland
    you forget now why all those tears
    on a lovely morning such as this.

  • A Short Excerpt from Coconut Oil

    Here is a very short excerpt from the “Wintertide” chapter of “Coconut Oil.”

    Oh, and the jouissance of the creamy oil’s single flavor savors of favor, in the bath, kitchen, by the four-poster or berth, for dry skin, diaper rash, or when the dark knells for thee. No need to refrigerate. Oil squeaky hinges, refurbish dull wood finishes, fry Copper River salmon in cast iron skillet, remove warts (rub under duct tape), fly cats to the moon or snorkel under ocean kelp beds, race around the ceiling, the coconut salesman is at your door!

    Be the first on your block to order a copy of “Coconut Oil”!

    Paperback $8 … e-Copy $2.99

     

    • Paperback: 194 pages
    • Publisher: CreateSpace Independent Publishing Platform; 1 edition (May 24, 2016)
    • Language: English
    • ISBN-10: 1530995264
    • ISBN-13: 978-1530995264
    • Product Dimensions: 5.2 x 0.5 x 8 inches

    Coconut Oil eCover

     

     

  • 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

     

     

  • Penina’s Letters for $2.99!

    The electronic version of “Penina’s Letters” is now available at the discount price of $2.99 (and free to Kindle Unlimited Subscribers).

    The e-version can be read on any device – with the Kindle app, which can be downloaded for free (click link above).

    We don’t recommend reading the electronic version in water, though that might be the best place to read this dynamic novel, but at the low, low price of $2.99, you can certainly read it with your device up on the beach, near the water.

    e-Version Details

    • File Size: 2077 KB
    • Print Length: 291 pages
    • Page Numbers Source ISBN: 1530686881
    • Publisher: Joe Linker; 1 edition (March 28, 2016)
    • Publication Date: March 28, 2016
    • Sold by: Amazon Digital Services LLC
    • Language: English
    • ASIN: B01DJWPLUY
    • Text-to-Speech: Enabled
    • Word Wise: Enabled
    • Lending: Enabled
    • Enhanced Typesetting: Enabled

    Paperback Details

    • Paperback: 290 pages
    • Publisher: CreateSpace Independent Publishing Platform; 1 edition (March 25, 2016)
    • Language: English
    • ISBN-10: 1530686881
    • ISBN-13: 978-1530686889
    • Product Dimensions: 5.2 x 0.7 x 8 inches
  • Two Ocean Surfing Poems at Berfrois – and a gallery of old ocean photos

    “Ray, 1956” and “Watermarks from a Night Spring,” two poems with themes of the ocean, surfing, and working, were posted at Berfrois a couple of days ago, along with a few old surf photos.

    Paddle on over to Berfrois and check out the surf poems.

    And below find a gallery with more photos from the late 60’s thru mid 70’s. Most of these photos were taken with an Exakta 500 single-lens reflex camera (East German), with a 120 portrait lens, both purchased used and cheap to take surfing photos at local spots on Santa Monica Bay. Most are scanned from slides, Kodachrome or Ektachrome, and one is from a black and white print. The portrait lens was an affordable workaround at the time used as a kind of telephoto, and it worked ok. The camera was abused though, tossed in the sand, and over time the shutter began to stick. The photos starting coming out black. Some viewers may feel these the best photos. See etched drawing on one of the black slides. These are not “big” waves, and the surfers are locals, but the ocean is huge and alive and old and every morning new. Click any photo to see the gallery. And don’t forget to check out the poems.

    Related: Watermarks from a Night Spring & Ray, 1956

  • The Sea Far Away

    I was trying to recall Ezra Pound’s line, “And men went down to the sea in ships.” Fine, wonderful line, except that’s not what he said. What Pound said, opening “Canto I,” I now recalled, looking it up, was, “And then went down to the ship.” And I was going to say, that if Pound had lived in the South Santa Monica Bay in the 1960’s, he might have said, “And boys went down to the ocean on surfboards.” But that doesn’t quite work now that I’ve corrected my recall. Pound’s sailors “Set keel to breakers, forth on the godly sea,” while the South Bay surfers of the 60’s, some watermen, some bleached a weak blond on a clean towel far up on the beach, where the waves couldn’t reach them, but still all caught up in the ancient tides that played on the radio and that licked at the western edge of Los Angeles, paddled out on surfboards and set skegs to waves.

    Pound does, in “Canto I,” mention a “sea-bord,” and “A man of no fortune,” and this might describe most surfers of the era (sea bored and poor). Still, Pound’s opening in a remote way does invoke the sport, the art, of surfing, for one catches waves not at the beginning of the wave’s life, but at the end of the swell, as it nears the beach: thus, “And then….” And then paddled out and turned around and caught waves back to the beach. Surf: Pound’s “…water mixed with white flour.”

    The waves always look smaller from the beach, and from the waves, sitting on the board, the beach looks, as Pound said, “…not as land looks on a map but as sea bord seen by men sailing” (“Canto LIX”).

    So what happens to the surfer sea bored? Just this, from Albert Camus’s essay “The Sea Close By”: “I grew up with the sea and poverty for me was sumptuous; then I lost the sea and found all luxuries gray and poverty unbearable. Since then, I have been waiting” (172).

    Related:

    Albert Camus on the Economic Collapse