During the hiatus, a man in a black suit appeared in the Geist Gallery in Toronto and identified himself as a builder of ornithopters, or perhaps he said he was a promoter of ornithopters (this was during the hiatus, when nothing was clear; in any event his field was ornithoptery). I couldn’t remember what an ornithopter was but I could see one in my mind: the question was, what did an ornithopter do? The ornithopter man was accompanied by a well-dressed woman who never stopped smiling.
We were setting fires in a dry gulch in the hills at the edge of town, with crumpled sagebrush and bits of tumbleweed and no paper for kindling, and we had to start our own fire with a single match the way they did in the Cub Scout troop that met Thursday nights in the basement of St. Paul’s Anglican church on Battle Street.
When Malcolm Lowry’s shack on the beach at Dollarton, B.C., burned to the ground in 1944, he and his wife Marjorie were able to save the manuscript of only one of the novels that he was working on at the time. A few months later the same manuscript had to be rescued again when the house that friends found for them in Oakville, Ontario, also burned to the ground.
My friend Eric moved to Los Angeles five years ago to become a rock star, only to learn that drummers and bass players in L.A. are unreliable, that nobody in L.A. goes to see live music and that the chicks in L.A. are all crazy. Once he got to wait at a stoplight behind Patricia Arquette, once Britney Spears came into the gym where he worked and one time a bouncer let him into a club ahead of Fabio, and none of these things made him famous.
The first time I met Andy Warhol he was wearing a black sweater and pants; the second time he was wearing white tie and tails (it was at Lincoln Center). The third time I met him, at Arthur, the disco opened in the sixties by Sibyl Burton, he was wearing a jersey made of silver mail.
In early March 2003, when I arrived in Taiwan to teach English, I took to the streets of Taoyuan County to take some photographs. I was looking for anything—signs, market scenes, strange faces, cityscapes, bus stations, barber shops—but all I could see was dogs. These dogs were not pets, though they may once have been. They were strays—dogs that lived on their own.
Who today remembers the man who carried Einstein’s head in a box through the streets of Vancouver? We remember clearly the box (dark wood, varnished, the door on brass hinges: what about the latch?) with Einstein’s head in it, a plaster model (was it plastic, perhaps? modelling clay? plasticine?)
Mary Meigs and her friend Lise Weil, editor of Beyond Recall, met regularly to do freewriting together. For each exercise they chose a line or phrase from the work of a poet they both admired; then, inspired by that "prompt," both women wrote for five or ten minutes, recording whatever came to mind (and hand).
When I lived in Ottawa in the 1970s, I used to enjoy passing lazy afternoons at the National Gallery looking at the pictures. I remember how surprised I was when I first encountered the Group of Seven collection. These paintings were completely familiar—I’d seen them in schoolbooks and on calendars, posters, t-shirts, everywhere—yet at the same time they were completely unexpected.
Last summer, in anticipation of the opening round of the World Cup of soccer, the largely immigrant population of the narrow side street in Lisbon where I was renting an apartment draped their windows with flags. The green and red of Portugal predominated, but the blue planet on a gold-and-green background of Brazil also hung from some windows.
The Captain Is Out to Lunch and the Sailors Have Taken Over the Ship is the latest of Charles Bukowski's posthumously published books, of which there are at least five in the world (and possibly still more to come from the estimable Black Sparrow Pre
Receiving books for Christmas raises the question: What possible reason did anyone have to give me this? ... This year it was my uncle's turn: why exactly did he send me a copy of The Criminal Prosecution and Capital Punishment of Animals: The Lost H
My friend Eric moved to Los Angeles five years ago to become a rock star, only to learn that drummers and bass players in L.A. are unreliable, that nobody in L.A. goes to see live music and that the chicks in L.A. are all crazy. Once he got to wait at a stoplight behind Patricia Arquette, once Britney Spears came into the gym where he worked and one time a bouncer let him into a club ahead of Fabio, and none of these things made him famous.
The first time I met Andy Warhol he was wearing a black sweater and pants; the second time he was wearing white tie and tails (it was at Lincoln Center). The third time I met him, at Arthur, the disco opened in the sixties by Sibyl Burton, he was wearing a jersey made of silver mail.
In early March 2003, when I arrived in Taiwan to teach English, I took to the streets of Taoyuan County to take some photographs. I was looking for anything—signs, market scenes, strange faces, cityscapes, bus stations, barber shops—but all I could see was dogs. These dogs were not pets, though they may once have been. They were strays—dogs that lived on their own.
Who today remembers the man who carried Einstein’s head in a box through the streets of Vancouver? We remember clearly the box (dark wood, varnished, the door on brass hinges: what about the latch?) with Einstein’s head in it, a plaster model (was it plastic, perhaps? modelling clay? plasticine?)
Mary Meigs and her friend Lise Weil, editor of Beyond Recall, met regularly to do freewriting together. For each exercise they chose a line or phrase from the work of a poet they both admired; then, inspired by that "prompt," both women wrote for five or ten minutes, recording whatever came to mind (and hand).
When I lived in Ottawa in the 1970s, I used to enjoy passing lazy afternoons at the National Gallery looking at the pictures. I remember how surprised I was when I first encountered the Group of Seven collection. These paintings were completely familiar—I’d seen them in schoolbooks and on calendars, posters, t-shirts, everywhere—yet at the same time they were completely unexpected.
Last summer, in anticipation of the opening round of the World Cup of soccer, the largely immigrant population of the narrow side street in Lisbon where I was renting an apartment draped their windows with flags. The green and red of Portugal predominated, but the blue planet on a gold-and-green background of Brazil also hung from some windows.
Mordecai Richler, in a withering put-down, once dismissed the novelist Hugh Garner as “a good speller.” In the summer of 2003, grinding through 160 Canadian books as a jury member for the Governor General’s Literary Award for Fiction in English, I learned that for many contemporary Canadian writers, Garner’s level of dubious distinction remains out of reach.
In a letter of 350 words, published in Geist 65, Michael Redhill calls me a racist once and implies that I am a racist on at least four other occasions. Redhill’s repetition of the ultimate insult of the postmodern era offers a fascinating, if depressing, window into how certain Canadian writers betray their responsibility to the society they live in.