Category: Writing

Recent tomes I’ve tapped

~ Chris ~ Leave a comment

I’m never not reading a book or two. These are a few new titles I got my grubby paws on: 

Mike Nichols’ 1966 film of Edward Albee’s corrosive play “Who’s Afraid of Virginia Woolf?” remains a dish-rattling, drink-spilling, daggers-in-your-ears delight, all marital earthquakes and social Molotov cocktails. (Cocktails. Of course.) Booze is big in that cracked portrait of a long-wed couple on the rocks. (On the rocks. Of course.) And you get a contact high reading the riveting “Cocktails with George and Martha: Movies, Marriage, and the Making of ‘Who’s Afraid of Virginia Woolf?’” by Philip Gefter, who capably captures the play’s serrated edges, dubious morality and verbal drive-bys, as well as the behind-the-scenes hoopla of making a controversial movie with a controversial couple, no less than Richard Burton and Elizabeth Taylor — Hollywood nitroglycerin. It’s a bracing blast of theater and cinema history.  

“Headshot” is by a woman named Rita Bullwinkel. Let’s get that out of the way. (There, done.) This slim, tightly coiled novel is also a muscular debut, damp with the blood and sweat of a passel of female teenage boxers, zesty characters realized with pointillist panache. Time-leaping and fragmentary, the girls’ stories are told in intense vignettes for a scrappy scrapbook of pugilistic profiles that pounds with humanity and life. If not quite a K.O. — more tonal and rhythmic variety would shake things up — the book is a fleet-footed contender. 

With irksomely precocious flair — at 35, he’s a wizardly wunderkind — poet Kaveh Akbar conjures worlds of art and ideas in his radiant fiction debut “Martyr!” Reeking agreeably of auto-fiction, this dense but delectably readable novel is about an Iranian-American poet scouring past and present, life, death and love with the insight of an artist and the squishy heart of the wounded. Gorgeous language propels you through its lush, gently philosophical thickets. And despite some muddled mysticism near the end — I’m allergic to spiritual allegory — “Martyr!” had me pleasantly reeling. 

Lorrie Moore’s a personal favorite and her latest fiction is the knottily named “I Am Homeless If This is Not My Home.” Like all her books, tangy prose festoons the pages (a bite-size sample: “Fluorescent light rinsed the room.”). Yet the novel, with its arch surreal touches, rubbed me wrong. The narrative, centered on a man and his dying brother, is gawky, with sharp elbows and knobby knees. Plus, there’s heaps about chemo, cancer and croaking, and I’m not in a hospice mood. The novel just won the National Book Critics Circle award for fiction, so call me bonkers. In this rare instance, Moore is less.

Not for the feint of heart but perhaps for suckers for sentiment, the bleak memoir “Molly” — breathlessly written by Molly’s husband, Blake Butler, a noted novelist of thrillers — starts with her gunshot suicide and continues with another bang, the crack of bared emotion and tell-all candor. This is the story of Butler and Molly Brodak’s three-year marriage, a melding of art and nature and words and, in her case, bouts of inconsolable darkness. Brodak, a published poet and author who said “I simply wasn’t good enough,” killed herself three weeks before her 40th birthday, in 2020. “Molly” is so much about her and her devastating secrets, yet equally about Butler’s clawing to the other side of grief through deep (and verbose) psychic excavation. He includes Molly’s suicide note (“I don’t love people. I don’t want to be a person”), along with the frantic blow-by-blow action of finding her body in a favorite field of theirs. These passages are tough-going, not only for the forensic particulars, but for Butler’s writerly histrionics as well; he pants on the page. A cult sensation, tugging readers to and fro like emotional taffy and kicking critics into superlative overdrive, “Molly” is a divisive read, by turns lovely, wincing and overheated. It is the first book I’ve read that opens with the phone number for the national suicide hotline. 

Food porn, Sicilian style

~ Chris ~ 2 Comments

It’s 33 degrees outside and a cold winter sun glares from unblemished skies, the deep snow melts and the tweedly doodles and musical Morse code of birdsong fills the chilly air. Even inside, my hands are numb and puckered, and I should really put on gloves. But I can’t type with gloves. The blogger’s quandary.

Here’s another quandary: I just got back from my maiden voyage to Sicily — namely, the capital city Palermo — and, writerly speaking, I am constipated, all blocked up. Ex-Lax for writers — is that a thing? Gloves or no gloves, my typing is stymied. 

Let’s try this. Let’s look at a picture of one of my many fabulous meals on the fabulous trip, like this heartbreaking pizza:

Or this exquisite specimen of pistachio gelato:

And why not this prosciutto panini with a popular Italian beer:

Or the best cannoli I’ve ever had, made before my eyes in an actual nun’s convent:

See, with most of my journeys, food takes up considerable real estate on my itineraries, at least 50 percent of why I go and what I do. Art, cathedrals, quirky museums — like the marionette and Inquisition museums in Palermo, the gruesome catacombs, plus the Mafia tour I took — are mandatory and rewarding. But nothing quite so viscerally gets the gut like, say, this succulent, perfectly seasoned chicken I feasted on:

Sicily — infamous for its Mafioso, which is actively being stamped out — is the biggest island in the Mediterranean, set just below mainland Italy. It boasts a regional flavor, dialect and attitude all its own, and its denizens are a proud people. They are also unfailingly kind, helpful, funny — and self-admittedly gesticulative and loud.

All of my Ubers were sleek black Mercedes and, as it was low season last week, non-local tourists were scarce. Booking a tour or a table was a cinch, and the weather hovered in the very comfortable mid-60s. (No gloves needed!)

Palermo, a coastal city of about 700,000, is exciting the way gritty Naples is. It pulses. It’s richly historical and traffic-choked with throngs of motor scooters; graffiti-strewn and colorfully multicultural. Pet dogs are plentiful — sidewalks are mushy minefields of poop — and street food rules. Like the Sicilian Arancini, fried rice balls, nearly the size of a tennis ball, filled with melty cheese and meat. Phenomenal.  

As I’m still a bit writer’s-blocky, I exit with these non-foodie shots of the rightfully famous Palermo Cathedral, a dazzling architectural melange of Islamic, Norman and Christian influences. I’ll share more about picturesque Palermo when my brain freeze thaws. Ciao.

‘X’ marks the spot

~ Chris ~ Leave a comment

I recently wrapped Catherine Lacey’s transfixing novel “Biography of X,” and it still haunts me. Published last year, the book is pungent and persistent, banging around my brain, impressions springing up at random moments, all of it strongly fragrant and strangely alluring.

“X” is a big book of ideas and feelings. It has a collage-like texture. It’s about art and the ravenous impulses of the artist; romantic love and its hazards; the fluidity of identity; the slipperiness of selfhood; and the rigors of creation. 

And it’s about the relationship between X, who has died, and her widow CM, the so-called writer of this fictional biography, which of course was written by Lacey in a neat feat of authorial ventriloquism.

X — who went by a swarm of pseudonyms, depending on her setting — was a shape-shifting Zelig, insinuating her self into the realms of art, music and literature, finding creative success and romantic excess, much of it to CM’s dismay and heartbreak as she researches her ex-wife’s half-cloaked life. 

In elegant, unfussy prose, Lacey conjures an alternative world in which X wrote the iconic David Bowie song “Heroes”; Jackson Pollock, Alexander Calder and other major artists are killed in a terrorist bombing; and Bernie Sanders is the President of the United States. Cameos by Patti Smith, Christopher Walken, Susan Sontag and other luminaries arrive with cheeky nonchalance.

Lacey’s command of her literary experiment and the constellation of personalities she so blithely courts sometimes makes you think you’re reading an actual biography of an actual person. It’s a good trick, deft and ambitious, and a delight to plunge into.

At 38, Lacey is a bona fide wunderkind, and her performance in “Biography of X” has me trusting her to lead me farther into her cerebral yet accessible oeuvre. 

This week I got her slim gothic fable “Pew,” from 2020. It’s about an anonymous orphan who’s lacking crucial identifying components — age, name, sex, history — rattling and confounding a small, deeply religious community in the American South. 

I’m half-through this mysterious novel, whose humanity almost blinds. I’m with it all the way, totally sold. Lacey’s virtuosity sings, loud and clear as a bell. I’ll just say it: She is one of the most interesting authors of her generation.

Facing evil

~ Chris ~ 2 Comments

Let’s not get all down about it, but I’m reading “Survival in Auschwitz,” the slim and indelible account of life in the most notorious Nazi concentration camp by Primo Levi, an “Italian citizen of Jewish race.” Published in 1947, the pages bulge with terrible and inconceivable realities, much of it learned about in any decent schooling, yet far more personal and unsparingly granular. The horrors are shattering.

So I will spare you. I’m reading the book, an autobiographical classic, because of my upcoming visit to Auschwitz, just outside of Kraków, Poland. My trip, as I’ve oft-noted, takes me to Budapest, then Kraków, where I went years ago, including the day trip to the concentration camp, which is now a haunting al fresco museum that staggers with its bleak, blunt truths. Even the gift shop (yes, gift shop) is stained with gloom.

Why do we go to such places? I know someone who said he would skip Auschwitz if he went to Kraków, a fact I find astonishing. Few places throb with such recent history and so many fresh ghosts and has shaped so much of the modern era to now. It’s living history, inescapable. To duck it, inexcusable. 

That’s just me. Genocide is vital and we should be exposed to it as a reality check and cautionary device. Visiting Auschwitz (or Duchau, which I toured in Germany) is mind-expanding. It’s not a place for morbid curiosity or ogling. It’s a place for reflection and wonder. Like any potent museum, it works intellectual muscles and, more so, wrenches emotional ones. It’s as powerful as any Holocaust memorial or, similarly, the 9/11 Memorial and Museum. Its utter humanity rumbles, and humbles.

I have a strong stomach for dark and doom. I seek out shrines to deformity and mortality, like the Mütter Museum in Philadelphia, the Museum of Forensic Medicine in Bangkok, freak shows and books about human oddities. I always make a solemn visit to Holocaust museums, be it in Amsterdam or Israel. Or, of course, Auschwitz-Birkenau. 

It’s not about luxuriating in morbidity or getting a “thrill” from death, like some sophomoric Goth, who gleans reality from graphic novels and zombie movies. It’s the opposite, being repelled by it while pondering the strength, the sheer fortitude, of the victims and acknowledging that it can’t happen again. The triteness of that statement is a reflection of its truth.

In “Survival in Auschwitz,” Primo Levi writes eloquently of struggle and endurance in the face of naked evil inside the death camp. His spirit is wounded but unbowed. Survival is paramount, and he carries on because it’s all he can do. 

He says: “Sooner or later in life, everyone discovers that perfect happiness is unrealizable, but there are few who pause to consider the antithesis: that perfect unhappiness is equally unobtainable … Our ever-sufficient knowledge of the future opposes it, and this is called, in the one instance: hope.” 

Is Austin overrated? and other stray thoughts

~ Chris ~ Leave a comment

1. Even through my teens, my two grandmas, bless their long-dead hearts, called me Chrissy, and I didn’t mind a bit (unless it was in front of my friends, then I turned a scorching shade of fuck me). Today, one of my best friends, an unassailable lady in Texas, occasionally calls me Chrissy or even Chrissy Poo in endearing texts. Born Christopher, I’ve always gone by Chris, but that’s a unisex name, and for those of you with monikers like Jamie, Terry, Jessie, Charlie, etc., you know it can get sticky. Sometimes at my newspaper gigs, I’d get hate mail addressed “Dear Sir or Madam.” But that was rare. Readers could pretty much tell I was a guy, because my reviews often had an acid tang, a little banner that said: dick. Two of my favorite names for girls are Samantha and Alexis, which of course become Sam and Alex. I almost named a pet rat Samantha. When my sister-in-law calls the dog my way, she’ll chirp, “Go see Chrissy!” I don’t blush. I kind of like it. If it’s good enough for old Cubby, it’s good enough for me.

2.If I got a bunch of dogs, these are some of the names I would give them: Bongo, Mamet, Alvy, Corn Pop, Gatsby, Heddy, Akira, Brando, Phoebe, Takeshi, Willa, Uncle Johnny, J.D. and, my favorite, Kaboom. I don’t think a single one of the dogs would be pleased with me. Too bad. That’s just for starters. (Growing up we had a little black poodle named Itai, which is Japanese for “ouch.” Just think how he felt.)

Corn Pop and Bongo going at it.

3.I just retired my 2-year-old Apple AirPods — the first generation earbuds that pop out of your head when you sneeze — and replaced them with snuggier AirPods Pro: 2nd Generation, and I made a vital sonic discovery. It’s one that many of you probably already know (this Luddite lags in the world of aural ecstasy). And that’s that the pods furnish remarkably better sound quality when used for movies and videos than plain Apple Music tunes. I do my listening on a MacBook Air, be it music, podcasts, YouTube or films. I’ve watched three movies with the new pods (including the enthralling if baffling “Arrival,” a film that pushes me even closer to hating sci-fi) and the audio excellence — sumptuous, immersive, surround-soundy — has me giddy. Even a 1950s Billy Wilder flick cranked out sound like I was in a fine, classic movie theater that actually gave a spit about its presentation. Power to the pods.

4.I once worked with a masterly, natural-born writer named Michael Corcoran, who was the newsroom’s resident curmudgeon, bristling maverick and trenchant culture critic. Now retired, the award-winning scribe, who’s also a friend, maintains a beguiling blog whose lead entry is as incisive as it is infamous, a biting takedown of his hometown Austin, TX, titled “Welcome to Mediocre, Texas.”

“Only the mediocre are always at their best, someone said, which could be why Austin is so damn proud of itself,” Corcoran begins, and continues:

“There are two cities in the U.S. that truly matter: New York and L.A. Everywhere else is bullshit. Austin is cool and fun and artistic and — most importantly, easy — but that doesn’t make it a great city. The things that make a town a city — rapid transit, a great art museum, Chinatown, pro sports — Austin is without. We’ve got L.A.’s traffic, but no one who can greenlight a project bigger than a Chili’s commercial.”

Read the full rant HERE, especially if you’re reflexively enamored with Central Texas’ ego-tropolis, which a visitor I know once compared to Sacramento and Stockton.

But it sure is purty

Jotting down life

~ Chris ~ Leave a comment

I’ve been journaling since 1994, and the unrelieved banality of my journals not only disappoints me, it lances me, makes me realize how crushingly uneventful, how downright nondescript, my life has mostly been. 

Or has it?

Of course there are highs and lows recorded in the reams of pages I clutch and possess with paternal jealousy, some on paper, such as Moleskin notebooks, but most in digital files stored on my well-backed-up laptop. 

That much verbiage can’t be all bad, and some of it, I humbly admit, is pretty all right. I’ve lived loudly. I’ve loved amply. I’ve travelled widely. I’ve won awards. I engage my myriad interests. And my friends and family are tops.

Rereading some old entries has triggered surprise and delight at a deft phrase, a funny observation, a jolting memory, or a nostalgic or sentimental rush. And none of it is performative; it’s for me and me only.

I have perused past journals raptly, and felt a strange exhaustion afterward, as if the words exhilarated me, hauling me through a woozy time-warp. Like: getting violently ill twice in Thailand in ’95; the great break-up of ’01; being shortlisted for a Pulitzer in ’06; Mom’s death in ’19; Dad’s passing the following year; and so much more.

I’ve done a decent job filling life’s canvas and, with equal fervor, filling pages about it all. This is starting to sound like a valediction, like I’m in hospice or something. That’s hardly the case. I’m merely musing, and that’s what journaling is about — navel-gazing, woolgathering, reflection and introspection. It’s capturing the milestones and the millstones, the highlights and the lowlights.

Almost always it’s simple recording, dull, everyday stenography. Like this I typed yesterday: “I lie in bed, trying to wrest another hour or so of sleep from the morning, and all it amounts to is tossing and turning and amplified anxiety, ugly thoughts and visions. It is torture.”

It can be dark, indulgent, meaningless, like the above. Even so, getting it down is the heart of the process. Journaling is purging, an irrigation of the brain and pipes of the soul. If lucky, it provides fuel for future scribblings. 

Some of my journals, printed and bound

A famous writer says to “mine your journals” for essay and blog material, something I’ve taken to heart. Dreary daily bulletins can be spun into content, stories, little narratives. Sometimes they are inspired, like gold; other times (too often), they’re gruel. 

So now when I return to this post’s opening graph, I think it’s all wrong. My journals aren’t reserves of the uneventful and the nondescript — the banality of drivel — but contain just enough substance of a full life. 

I’m no journaling master. And I obviously haven’t mastered this life thing. Last week in the airport, on the way to Scotland, I did some journaling. I’ve plucked a snippet from that entry, a sentiment that holds true for that trip, for writing, and for life as a whole:

“I still don’t know what in the hell I’m doing. I really don’t.”