GroupGrok

A mental contagion

May 21, 2012
by Ian Withrow
0 comments

Submitted For The Approval…

Define creepy.

Go on, off the top of your head, whenever you’re ready.

Tell you what:  I’ll finish cleaning this knife while you think about it.  The blood always has a way of getting into the crevices around the handle and if you don’t get it out of there the blade will start to rust…There.

That’s better—squeaky clean.

Now, did you come up with anything?  No?

It’s difficult, isn’t it?

Creepy is a strange word, one of those adjectives with a thousand meanings.  Derived from the same chaotic pool of emotions as hair-raising, bone-chilling, nerve-rattling.

And love.

When I was a kid, I loved the creepy.  I searched for it desperately in book and film.  Devouring R.L. Stine and Christopher Pike and those Scary Stories books with the brilliantly horrid black and white drawings.  Tearing meaty chunks from the works of Frank Darabont and the singing dead girl in Lady in White.  Swallowing Nickelodeon’s Are you Afraid of the Dark and Eerie, Indiana by the mouthful, not bothering to chew.

I lived for the excitement of it all.  Exhilarated to be able to peak under the veil of everyday life and see horrible things, yes, but also the possibility of courage and wonder and that grand and eternal balance of Good versus Bad.  It wasn’t long before that exhilaration became an addiction, and that addiction a way of life.

Now, I spend my days peaking under rocks.  Grabbing the squirming, writhing things from the soggy earth beneath and touching their juicy underbellies to my tongue.  Mostly, the taste is how you’d imagine:  bitter and rancid and otherwise forgettable. But sometimes…

Sometimes the explosion of flavor makes the pulse race, the adrenaline rush, and that initial high from my childhood comes roaring back.  My eyes roll up into my skull and I can’t help but moan, “Oh, God…that’s so…very…creepy!

You know…Come to think of it, I just happen to have a few rocks we can peak under.  Right here, in this cabin.

What do you think?  You want to play?

I knew you would.

Okay, get ready.  Here they come:

1.  Imagine you are strolling along down an unfamiliar neighborhood.  You’re a bit lost, in search of some place known locally as The Street and an alleged business client named Bert who currently resides there.  You round the bend, and feel a sharp pain in your right leg.  You stumble.  Fall.  When you look up, you find yourself staring directly into the face of this:

He slowly tucks the hypodermic needle, now empty, back into a black leather bag.  The last thing you experience are the words, “Get the feet, Ernie,” then everything goes black.

2. A man approaches you at a house party among friends.  You recognize him, he’s been around before, and he has a pleasant smile that puts you at ease.  ”Jenny’s said wonderful things about you,” he says.  ”And I’ve always loved writers.  The wife and I were talking, and we decided we’d love to have you for dinner.  The kids, too.”  And because of that pleasant smile, you commit.  ”Friday night,” he says.  ”You bring the wine.”  When you arrive Friday, you find his house his charming, the decor sublime.  He guides you through the living room, the dining room, the kitchen, then into a narrow hallway with a single door at the end.  He opens the door and motions you to go through first.  He smiles pleasantly, so you go.  Then a boot in the small of your back, and you go flying inward.  Catching a quick glimpse of the ceiling…

…and then the man with the pleasant smile is closing the door behind you.  ”I brought you dinner, my lovelies,” he says, “And wine.”  Then the door is closed and everything goes black.

3. After the recent death of a distant relative, you and your mother find yourselves in the back of a barn in Sioux Falls, South Dakota.  Rummaging through antique trunks and boxes of mothballed clothing, you stumble upon an old photo album.  Flipping the pages, you recognize a young woman with luxurious auburn curls and classic, movie star smile.  ”That’s your grandmother,” your mother says over your shoulder.  ”She died very young.”  ”She’s beautiful,” you say.  Then you turn the page and see something that fills your stomach with lead.  ”Mom, what is this?“:

“Oh, that’s your grandfather, honey.  My dad.”  She touches the picture gently.  ”This was their wedding picture.”  Then her hand is on your face.  ”He’s been asking about you.  Maybe its time we arranged-oh, speak of the devil!  Hi, Dad!”  The barn fills with the aroma of rancid meat.  As you look up into the face of your bloodline, the world starts to spin, and everything goes black.

4.  You live alone.  Across the street is an ancient foreclosure, a relic of a home with cobwebs over the porch, days from being condemned.  Then, suddenly, there is life in the house.  You hear movement, the opening and closing of doors.  Lights come on at night, and every so often there is a stuffed animal left out in the yard.  One day, after a few happy hour cocktails with friends, you decide to venture over and meet the new neighbors.  You knock on the door.  At first, there’s no response, but as you knock again you hear something like slithering behind the door.  A voice, like a metal knife on a porcelain dish, oozes forth from inside.  ”Is you baby?”  ”Am I what?” you say.  ”Is you baby? Is you tastee?” “No,” you begin.  ”No, I-” Then you turn and run.  That night, you look out your window and see this:

From behind, that syrupy voice shrieks into your ear.  ”It makes it pretty.  Makes it so pretty for its tastee baby…”  Then something wet wraps around your neck, and everything goes black.

There.

That wasn’t so bad, was it?  Most of it probably left a foul flavor in your mouth, but maybe you tasted the creepy once or twice.  Close enough for a definition, anyway.  Close enough to make it count.

And if not, that’s okay.  Sometimes it’s better to sit and wait for creepy to come to you.  Which it does, you know.  Always in the wee hours of the morning, when sleep is a false sense of security, and everything goes black.

 

May 13, 2012
by Ian Withrow
0 comments

A Happy Mother’s Day…

I never took the bus to middle school.  Never walked.  Never rode my bike.  Never car-pooled with a classmate, or a friend.  Every morning, after she had already cooked my breakfast and ironed my clothes, I made my mother drive.

This, in itself, was not a Bad Thing.

Into the 1990 Plymouth Voyager we’d climb, the cherry black mini-van with a red racing stripe down the side, and depart mountain for the valley below.  We’d talk about my homework and football practice, about what I wanted for dinner, Christmas, my birthday.  We’d talk, on these daily drives, about me.  My dreams.  My opinions.  And regardless of the misjudgments coming out of my mouth, the impossibilities, my mother’s response was always the same.  Resonating a three-pronged theme.

“Be kind.  Be forgiving.  You can make anything come true.”

The drive was always good.

The Bad Thing is what came at the end.

I never let her drop me off in front of the school.  Instead, it was a block away.  No matter how cold, how mighty the falling rain.  In a spot hidden by a towering fence, a juniper bush, and a beat up Chevy pickup with a rusty bumper, an ugly dent in the side.

“You have to park here,” I’d whine, and with not a question asked, she’d always oblige.  Responding with support and love:  “Have a good day, E.  Give ‘em hell.  I’ll be here to pick you up after school.”

And I’d walk away without a smile or a wave.  Dressed in the XXXL black hooded sweatshirt that always hid my man-boobies best, an oboe case in one hand and a palmful of sweat in the other.  Praying to God, to the Universe, to the grass and trees and beat up Chevy pickup that the students gathered by the school doors hadn’t seen our family van.  And wouldn’t notice my crossing the street.

I was afraid, you see.  I was terrified.

In my warped, pubescent mind, I believed whole-heartedly that to be seen with my mother was to be exposed.  Demystified.  Everyone would know.  They would see through my protective hooded sweatshirt and they would know:  That my family was broken, that my father was gone.  That I came from a household of two where ghosts were frequent and vulnerability became an accessible thing.

No girl would want that.  No boy would ever let me live it down.

Thus, because it’s always easier to convince the world you’re normal when your past is a mystery and everyone believes you walk alone, it was a block away.

Every day.

And my mother always obliged.

Most everything good in me comes from my mother—the affection, the moments of kindness, moments of patience.  Determination.  Perseverance.  The words.  These are symptoms of her tutelage.  Products of an education I received morning and night, day after day, from a woman strong enough to keep a household of two in a world where more traditional households constantly whither.

Everything else I’ve somehow cooked up on my own, from a recipe derived of that same pubescent mind.  The cynicism.  The excuses.  That voice that whispers from dark places, saying, “Forget it.  Put on that hooded sweatshirt and stay out of the light.  You’re so much better when nobody sees.”

We’re all guided, in some way, by the nightmares of our youth.  For writers, I think this is especially true.  It’s why Stephen King writes of fractured fatherhood, why Jeffrey Ford writes of relationships lost, why Norman Maclean wrote of rivers and the haunting waters rushing therein.  We write our stories.  Hoping on some subconscious level to surround ourselves with poetry.  Hoping that the literary equivalent of lessons learned burns bright enough to keep the monsters at bay.

I may not be able to diagnose a diesel engine.  I may not know how to fix a broken sink.  But I can tell a story.  I can make anything come true.  And when the story is good, Mom, it’s due to the gifts you’ve instilled along the way.

When the story is good, in other words, it’s because of you.

So go ahead.

Pull to the front of that school.

This time, when I get out of that van, I’m announcing to the world:  I’m damn proud to be your son.

 

May 9, 2012
by Allister Timms
0 comments

Confessional Type

The stage is set. There is a confessional box, dead centre. In it, the Father of all Literature is dozing. (Picture the writer you admire the most here. For this short skit, let’s pretend it’s Oscar Wilde.) Enter a young and troubled writer to the stage. He lingers before the confessional. Snubs out his iPod. Takes a deep breath, enters box.

Young Writer: Bless me father for I have sinned.

Wilde: What? Can’t you see I’m trapped between artifice and God!

Young Writer: Please, father, hear my confession.

Wilde: Ok, but only if I can use it in my next play.

Young Writer: Sure. I’ll be fucking glad to get rid of it.

Wilde: That will be three Hail Dorian Grays. And while you’re at it, would you mind popping a few witticisms in the collection box.

Young Writer: Silently mouths Hail Dorian Gray three times.

Wilde (opens a snuff box and inhales the holy spirit): Let’s be having it, then.

Young Writer: It’s this writing thing. It’s made me completely obsessive. All I can do is think about my story, think about writing. All I hear are sentences. All I feel are words. I can’t function in the real world. Or at my job, where I am expected to multitask, do all this stuff at the same time. I don’t work like that. I need to focus on one thing, and one thing only. I’m like a raptor intent on his next meal. I can’t be a damn rabbit mating with everything around me. It’s got so bad, I’m getting bad reviews at my job, I’m seen as a slacker, I’m relegated to the fifth division where all those losers go who can’t understand team play. Everybody thinks I’m bone-idle and is just milking the system. And when I do excel, it’s all just seen as a temporary aberration. They’ve chained my temperament to their corporate mixing machine and now all I do comes out as cement. It’s insane. I’m working like mad on my novel! Losing sleep. Ignoring my family. You see what this writing thing has turned me into. God, I need help!

Wilde: God cannot help you. He’s nothing but upholstery on the battered chair of human aspiration. Would you mind passing me your iPod. I’d like to look up the Wikipedia entry about me.

Young Writer: But I’m living in sin, father! I’m not appreciated. I could lose my  job because what I do best is seen as a feverish thing, an affliction. What others see are my failures, I see as the will to not give in.

Wilde: Have you ever heard of the importance of being in two places at the same time? Hopefully not. It will make you start believing in the immaculate conception of time and space. There is no such thing. There is only you and your time and your space.

Young Writer: But that’s just a theory of relativity. And Einstein’s dead and for all we believe in space and time and the possibilities of other dimensions, my job wants me physically in a seat 5 days a week and mentally there for the money. And I haven’t even began to talk about my domestic life.

Wilde: Listen up: Modern’s life’s a bore. If I was you, I’d either marry a rich dowager or else insert a flower in your buttonhole and rise above the mundane on aesthetic wings of a demon and angel.

Young Writer: Are you giving me your blessings then, father?

Wilde: Hell, yes! Now kiss my hand and slip me your phone number. I may need to ring you later.

May 9, 2012
by Allister Timms
0 comments

Let’s Rough It Up

Helium. I think writers need some of this. I know I do to help me float above the tedium. Because life gets tedious. And life can sometimes appear like it is designed to kill your dreams. I’m not trying to be mawkish or sentimental.

We all have our misery, our hopes, our fears, our anxieties, our failures, that little bit of the authentic in us that desperately wants to get out and which reality wants to keep down. We’re like fragile soap bubbles floating around, seeking to merge with another, but more often than not, colliding, and popping in a spray of iridescent sadness.

You’ve got to fight for your right to be a writer. Although I suppose anything a person loves takes a certain amount of crazy fighting to keep.

And you’ve got to kick-in the TV as a writer. I’m not talking about the actual TV (although you could if you wanted to). I mean the fabricated channels of thought and emotion we let become our prime time. That’s anathema for a writer; to just passively sit and flip through the channels, letting the TV drama of thought and feeling take over.

Here, this is what being a writer means to me. And I’ll let Aleksandar Hemon tell it to you: “All the lives we could live, all the people we will never know, never will be, they are everywhere. That is what the world is.”

Fuck, yes! That is what the world is, and it’s an authentic feeling, an authentic idea. It’s not sitting between the daze and the haze of reality, but going into life, slipping through the cracks in the pavement and finding the grit to produce a pearl of the dream others have passed up on, but artists keep alive.

“I happen to think that an ounce of empathy is worth a boatload of judgment.”

May 6, 2012
by Ian Withrow
1 Comment

Over The Top…

This past December, I experienced an event that forever changed my life, and it happened where such things tend to happen:  a beer-filled hotel room in coastal Maine, infamously dubbed Townhouse 4.

It was late.

After an evening of literary discourse, the congregation of Stonecoast student and faculty had withered to a persistent few.  We stood in kitchen of the townhouse—our minds fatigued from academic rigors, our souls alive in the company of fellow writers—debating the sexual enigmas of Dr. Who, the chemical make-up of Vat 69, the tragic reality of werewolvian betrayal.

When a particular block of conversation ran its course, I made the announcement:  “Well.  That’s it for me.  I’m as tired as all get out, and there’s a presentation I’m planning on attending in the morning.”

I made for the stairs leading to my bedroom when one of the faculty members called, almost sardonically, from the corner of the kitchen:

“Ian.  Hold on.”

I turned.  ”What’s up?”

He smiled.  “How strong are you?”

There are moments, I believe, in which our minds are capable of true prophecy, when our reptilian brains identify some primal shift in the paradigm, when our ears detect micro-fractures in the atmosphere.

That night, standing in Townhouse 4, I experienced such a moment.  My pulse quickened.  Adrenalin coursed through my veins.

I was afraid.

“I don’t know,” I said.  “Strong, to…um…quite strong. I guess.”

I glanced around.  All eyes were averted, examining shoes, the floor, a chipped fingernail, as if everyone in the kitchen sensed a hurricane afoot.

The faculty member’s eyebrow peaked.  His smile widened.  And I suddenly understood how a tapir must feel beneath the bloodthirsty gaze of a panther.

“Okay,” he said, a sinister twinkle in his eye.  “That settles it.  You and I are going to arm wrestle.”

I’m not exactly sure what happened after that—whether my brain shut down as a defensive mechanism, or of the idea of arm wrestling a world-renowned author was enough to blow a gasket in my consciousness—but the next thing I knew I was kneeling beside a glass coffee table.  Surrounded on all sides by my fellow students.  My writing mentor kneeling on the far side of the table, arm cocked, elbow on the glass.

“Make sure you get a good grip,” someone said behind me.

“And don’t let him break your arm,” said another, followed matter-of-factly by a third:  “Well, he only really needs one arm to write.”

“Thanks, guys,” I said, and put my arm on the glass.

We locked hands.  The presence of the faculty member’s strength was immediate.

“I must warn you,” he said.  “I’m very good at this.”

“I’m good, too,” I said, though everyone in the room knew it wasn’t true.

And the battle commenced.

I wish I could tell you it was one for the record books.  I lasted longer than I thought.  Put up a good fight, anyway, enough to show I wasn’t a complete pushover.  When it was over, he patted me on the shoulder and smiled, saying, “Don’t feel bad.  I’ve been arm wrestling for a long time.”  Then he bid everyone a good night and walked out the front door.

In the moments that followed, I explained to my fellow students that I allowed the loss.  “He’s on the faculty, for crying out loud,” I said.  “The second reader of my thesis.  Of course I wasn’t going to try to beat him.  My academic livelihood is at stake!”

I told them I let him win.

I lied.

Later that night—lying in bed, the ache in my arm nothing compared to my seeping wound in my pride—it occurred to me:

This faculty member, like every faculty member at Stonecoast, is more than an educator.

He is award winning, best selling, a masterful storyteller confident in his craft.  His tales are read throughout the world, in a dozen different languages, birthing audiobooks and movie rights along the way.  He’s funny, and brilliant, and handsome in a deviant, plot-twisting sort of way.  He has a wonderful family, an amiable dog, and an understanding that every time he sits down to write, the words coming out are going to be good.  Very good.  Because he’s a professional, and he’s been doing this a long time.

On the surface, I lost an arm-wrestling contest to an academic mentor in the living room of Townhouse 4.  The deeper reality, however, is that I lost an arm-wrestling contest to myself.  To a dream I struggle daily to realize.  My defeat that night became a testament to the fact that I’m not as strong as I thought, not as prepared as I need to be.  It’s a wake-up call.  A five-alarm chili in a bowl of oatmeal, and in the time since, I’ve found only a single means to get the foul taste from my mouth:

Work, work, repeat.

Every day, I come to this cabin.  Wrap my fingers over the smooth keys of the keyboard.  Put my hat on backwards.

And wrestle.

I wrestle with character, and syntax, and story.  I wrestle with confidence and doubt, humility and fear.  I wrestle with the Dark Boys, veins popping, my tendons stretched to the point of rupture.  Hoping.  Praying, each day, that additional strength will be there.

Some days, I hold my own.

Most days, I do not.

Either way, I’m putting up a fight.  Enough to show I’m no pushover, anyway, and that a challenge issued is not as terrifying as it once was.

My only worry is this:  the more time that accrues between the arm-wrestling match in Townhouse 4 and now, the more dramatic my defeat becomes.  And sometimes I wonder…

Will I ever be good enough to win at the glass coffee table in my own mind?

 

 

May 4, 2012
by Julie Day
0 comments

Yes, that’s my voice you hear

So under “other reasons I’m not blogging regularly”: I still host the Small Beer podcast. I just put up an interview I did with John Kessel and I couldn’t be more thrilled: firstly because we had a lot to talk about and secondly because, after many hours of labor, I finally finished the track.  Yes, once again I hit some unforeseen technical issue and ended up spending far too much time editing the audio so that it was “presentable.”

If only I could slap a little make-up on those audio files and call it a day…

If you want to hear a far-reaching discussion on everything from feminist moon colonies to Ender’s Game, you can find it here.

If you want to check out my other Small Beer podcasts, you can find them here.

One other big reason I haven’t been blogging is that it feels like a crutch when I’m trying to find my way into a new story.

“Sure, I’m writing.  I just blogged, didn’t I?”

“No, Julie, you did not.  Blogging is a type of fiction, sure, but not the formal constructs of short story, novella or novel.”

I can be rather harsh on myself at times…

Things I’m researching for my latest short story include: Gila Bend, Arizona,  the formation of both protostars and binary stars and the artwork found in the Phoenix Museum of Art.  Rufino Tamayo’s  Dos figuras in rojo is pretty damn fine.

Rufino Tamayo, Dos figuras en rojo (Two Figures in Red)

 

May 2, 2012
by Allister Timms
0 comments

A Crumb of Cheese Produces Nightmares

I’ve been eating cheese recently, and I’ve been getting bad dreams. Last night I was chased by a wedge of Dubliner riding a bicycle and screaming out J. P. Donleavy’s The Ginger Man.

The night before, it was a stinky piece of Stilton, dressed in rags and carrying a shopping bag that contained my severed head.

Before that, a soft brie, relaxed on summer grass, a big bottle of wine beside it, called me over for a shag.

Before that, a wine-laced Drunken Goat followed me into the men’s bathroom and devoured me with a large belch.

The worst one yet, though, is the Caerphilly. Speaking Welsh, with a fat content of around 48 percent, the almost-white, sour-tanged cheese dragged me down into a mine pit and had me work and work and work, lapping up the salt from my sweat until I died of exhaustion.

If this goes on, I might be forced to keep crackers on the bedside table.

May 1, 2012
by Allister Timms
0 comments

Car Talk, Book Prattle

I don’t give much thought to cars. I own a Subaru. But I didn’t buy it because the holy spirit of an ad got into my nervous system. I bought it because friends I know said they had Subarus and they ran okay. That was good enough for me. I’m not one to waste time on considering a make or a model or whether a car can somehow reflect my personality — or worse, as a show of my material wealth, or lack of.

In fact, if I was to actually buy a car that reflects my personality, I’d opt for a black 973 Mercedes-Benz 250 Saloon. But I don’t think it would be reliable enough for Maine’s winters. And I need reliability when it comes to a car. And I don’t need to have to think about the damn thing. Just drive and be driven, that’s my motto.

I’m the complete opposite when it comes to books. I don’t want a reliable book, the kind of book that purrs in your lap like a friendly cat. I want some hiss and scratching action. In fact, the more I am beat-up emotionally by a book, the better.

And whereas I don’t give a horse’s piss to whether a car reflects my personality, it is extremely important when it comes to books. The books I read shape the person I am, and I would have it no other way. It’s as if instead of atoms and cells, my body is made up of a helix of books and words. This is my DNA. And my blood is the blood of other writers. And my heart is the heart of all who read and write for unrequited love.

And the books I read must poke and prod and dare me to think differently — or at least take a leisurely drive with an idea or a feeling or a image or metaphor or a sentence that I have never encountered before but always hoped to. I want something other than the self I know when I read a book but I also want the self I am to be made stronger and more exciting and more unpredictable and more imaginative and even more of an individual.

The advice of others, however, is always important, be it about cars or books. The books I read are always at the advice of others, living or dead. The gift of a book is really about the gift of giving.

That’s why you’ll never see me driving a convertible sports car: I’d rather own a massive library with comfy leather chairs and room to roam.

May 1, 2012
by Allister Timms
0 comments

Listening to Goliath Sleep

I have decided I’m not one of those writers who has an impeccable resume, made all the right career moves, attended the Iowa Writer’s Workshop, and whose Facebook page is the fountain of eternal youth.

And, frankly, my dear, I don’t give a damn!

Here, in fact, is a list of all the things I have not done that is somehow required of a writer and, yet, I oddly still feel like a writer. Or so say I, who is in the majority of one, but it’s my one, and means so much to me.

I didn’t have an angry young man stage in my twenties. I still have it in my forties. But I did have an existential stage when I read Henry Miller, Knut Hamsun, Rainer Marie Rilke, Hermann Hesse, D.H. Lawrence, Lawrence Durrell, Oscar Wilde, and Tove Jansson. Oh, and I guess I still have this stage, too.

I didn’t read as a child. Well, I did, but it wasn’t the centre of my universe. I was more happy kicking a football down side streets; rolling down sand dunes; stealing from shops; offering gifts of Black Magic chocolate to girlfriends; and spending time alone in the woods whittling spears and ingesting fly agaric.

I didn’t read that much in my teens or my twenties. In fact, I only really started reading in my late twenties, shut up under thatch in Ireland before a smoking peat fire. I was actually much better at stabbing dead rats onto the thorns of a hawthorn as a meal for a hawk.

I didn’t start working in the publishing world at age 3.

I never owned a dictionary until I got one as a birthday gift at the age of 33.

I have never read what everybody else is reading and then compared notes over flapjacks and coffee and pretended to know what I am talking about.

I majored in History in college and then dropped out because I had to write too many papers and was miserable because I had done so badly in high school that all the universities I wanted to attend wouldn’t have me and the one that did take me I hated.

And, no, I didn’t know I wanted to be a writer as soon as I was birthed, kicking and flailing and crying and slapped about by the doctor until I whimpered at my mother’s breast.

I have not read all the classics and probably never will. And I still don’t know what it really is about Hemingway that makes him the writer all other writers invoke with gunsmoke and booze and fall on their knees and praise. Or Joyce for that matter, although Joyce did make me laugh.

I don’t have stories I wrote as a kid stashed away. I have bags of plastic soldiers and my LP collection.

All my English teachers disliked me. If I ever got a “C” it was because there was a substitute teacher that day.

I didn’t squirrel myself away in libraries reading and studying. I used libraries as places to get out of the rain and read my newest copy of Judge Dredd.

I will never admit to any of this if I am ever lucky enough to be interviewed and asked about my writing life. I shall lie through my teeth and say I have always read, always wanted to be a writer, have a talent for words, my English teachers doted on me, and I love Hemingway.

May 1, 2012
by Allister Timms
0 comments

Listening to Goliath Sleep

I have decided I’m not one of those writers who has an impeccable resume, made all the right career moves, attended the Iowa Writer’s Workshop, and whose Facebook page is the fountain of eternal youth.

And, frankly, my dear, I don’t give a damn!

Here, in fact, is a list of all the things I have not done that is somehow required of a writer and, yet, I oddly still feel like a writer. Or so say I, who is in the majority of one, but it’s my one, and means so much to me.

I didn’t have an angry young man stage in my twenties. I still have it in my forties. But I did have an existential stage when I read Henry Miller, Knut Hamsun, Rainer Marie Rilke, Hermann Hesse, D.H. Lawrence, Lawrence Durrell, Oscar Wilde, and Tove Jansson. Oh, and I guess I still have this stage, too.

I didn’t read as a child. Well, I did, but it wasn’t the centre of my universe. I was more happy kicking a football down side streets; rolling down sand dunes; stealing from shops; offering gifts of Black Magic chocolate to girlfriends; and spending time alone in the woods whittling spears and ingesting fly agaric.

I didn’t read that much in my teens or my twenties. In fact, I only really started reading in my late twenties, shut up under thatch in Ireland before a smoking peat fire. I was actually much better at stabbing dead rats onto the thorns of a hawthorn as a meal for a hawk.

I didn’t start working in the publishing world at age 3.

I never owned a dictionary until I got one as a birthday gift at the age of 33.

I have never read what everybody else is reading and then compared notes over flapjacks and coffee and pretended to know what I am talking about.

I majored in History in college and then dropped out because I had to write too many papers and was miserable because I had done so badly in high school that all the universities I wanted to attend wouldn’t have me and the one that did take me I hated.

And, no, I didn’t know I wanted to be a writer as soon as I was birthed, kicking and flailing and crying and slapped about by the doctor until I whimpered at my mother’s breast.

I have not read all the classics and probably never will. And I still don’t know what it really is about Hemingway that makes him the writer all other writers invoke with gunsmoke and booze and fall on their knees and praise. Or Joyce for that matter, although Joyce did make me laugh.

I don’t have stories I wrote as a kid stashed away. I have bags of plastic soldiers and my LP collection.

All my English teachers disliked me. If I ever got a “C” it was because there was a substitute teacher that day.

I didn’t squirrel myself away in libraries reading and studying. I used libraries as places to get out of the rain and read my newest copy of Judge Dredd.

I will never admit to any of this if I am ever lucky enough to be interviewed and asked about my writing life. I shall lie through my teeth and say I have always read, always wanted to be a writer, have a talent for words, my English teachers doted on me, and I love Hemingway.