(Not just the Protestant or blended Catholic.)
Scratch an American and find a farmer.
(Lenny Bruce’s goy.)
Or the desire to be one with hills and corn in an industrial society.
And, as we know, family farming doesn’t pay diddly.
You never know what we'll churn up in cleaning a stall
(Not just the Protestant or blended Catholic.)
Scratch an American and find a farmer.
(Lenny Bruce’s goy.)
Or the desire to be one with hills and corn in an industrial society.
And, as we know, family farming doesn’t pay diddly.
in outward affairs, a broken toe and off I went, steering in late snow to the emergency room blizzard, too, in sandals now, finally wearing eyeglasses for reading, blame the computer screen and more balding Maine coast from time to time, plus some light rowing and canoeing, and chamber music in mountain villages . still, the annual boat dance with live country folk band and callers cruises Boston Harbor Smell the breeze in its permutations of loving
My novel Nearly Canaan starts off in a railroad crossing called Prairie Depot. It’s imaginary, of course, a blend of several small cities I’ve encountered. But, for the record, let’s say this.

We were reluctant to start packing up our final goods from the house until the new couple passed through their final checkpoint in the home-purchase process. You know, just in case we had to show the place again to a fresh round of bidders.
What it’s meant was less than a week to box or wrap all that remains and haul it off somewhere.
We had already done a ton of packing and purging to make the rooms look presentable, but we wanted to leave enough to make it look cozy and livable. So that part’s done.

I’m a big believer in having uniformly sized boxes in a big move. They stack much more easily, for one thing.

There’s no way it will all fit in our new Downeast address, especially before our anticipated renovations are completed, so we’re putting some in two storage units, in effect buying some time for some serious culling. More is going off to our daughter’s already stuffed barn in York, to come up later.
It gets emotional, of course. I’m surprised how much responsibility I feel toward the books I’ve read, and their authors. And then there’s my vinyl collection.
Of course, that’s only my tip of the proverbial iceberg. Take the kitchen and garden goods, especially.
Sometimes I used to joke that I couldn’t understand how people lived without a barn to hold all the overflow. Only now it’s not the least bit funny. Seriously, folks.
Candidly, I’m not the gardener in our household, but I still have to pitch in with the work. Let me look on the bright side. Plus, when it comes to dining, I definitely enjoy the benefits.
~*~
Well, gardening does also serve as an item of conversation.
What would you add?
They definitely weren’t suburban. A big pink Victorian house suits Cassia’s colorful extended family in my novel What’s Left. And guests, even guests of guests, are typically welcome.
Have you ever been welcomed in a home like Cassia’s? How does it differ from yours?
~*~

Sometimes I was searching for a new form or genre somewhere between a short story and an essay. Not that I successfully found it.
exactly what comes next? maybe it’s Chicago within multiple trajectories of impatience and boredom before connecting and charging ahead roughshod you take a swing, fan, and fan again in this curriculum of revelations from Old Friends everywhere standing on some pebble-strewn base of a mountain, watching a squall line of religious tracts form in oppressive humidity how am I to know this will play Boston, this season or next? maybe I’ll score, ah, yes, and speaking of Hope, give her my greetings the big picture emerges one pitch at a time, here come the Sox . whoops
My novel What’s Left began percolating as I considered the dimensions of the hippie movement and realized it had never really died but continued disguised in many streams of action. Yes, I’d published my Hippie Trails series but so much still felt unfinished.
And, as a consequence of Cassia in the new novel, I went back and transformed the others into Freakin’ Free Spirits.
Looking at the world today, what pressing issues do you consider unfinished?
~*~
My novel is available at the Apple Store, Barnes & Noble’s Nook, Scribd, Smashwords, Sony’s Kobo, and other fine ebook distributors and at Amazon in both Kindle and paperback.


My subways novel started out to be my big hippie tome, building on a metaphor of hitchhiking, which was ubiquitous for us, but the extended concept ultimately got to be too unwieldy for one book. The supportive details were stripped away for what’s become Daffodil Uprising and Pit-a-Pat High Jinks, leaving the metropolis altogether.
Spurred on by Richard Brautigan’s “Trout Fishing in America” with a dash of William Burroughs, the initial drafts played surrealistically in a tension between the wide-open roads of the countryside and the underground realms of the biggest cities.
Then, four or five years after taking up the project, I was pawing through a used books bin in the desert of Washington state and came across a 1915 engineering volume, “Building Subways in New York,” which included “Elevated Railway Steelworks.” I still have it. How on earth had it ever landed out there amid the sagebrush?
I had already lived in Upstate New York four hours from Manhattan, and nearly all of my friends, housemates, and lovers were from The City. That was followed by my residency in a yoga ashram two hours away in the Poconos, so yes, I had learned to ride the trains. (Nowadays, it’s mostly Boston’s a little over an hour south of me.)

The original “Subway Hitchhikers” had a structure that ran like trains passing in opposite directions, which readers could find confusing rather than energizing. It also had a lacy air that reminded me of Robert Rauschenberg’s pop art “combines.” Gone, too, in the revisions is the protagonist’s hippie handle, substituting a more conventional nickname that better links this story to the others.
In the revised version, Subway Visions, there’s more focus on characters, plus new sections on Kenzie’s encounters of Tibetan Buddhism in a tenement near Greenwich Village as well as a graffiti artist known as T-Rex.
What’s evolved has a much straighter narrative and more arresting development, now linked to Kenzie’s ongoing life in the hills to the north. And elements of fantasy and heightened playfulness now augment the earlier surrealism.
I suspect I still have some classic coin tokens in my possession, somewhere.