Publications
Feel Like Funkin' It Up (Homage to Treme) Print E-mail
Essays and Memoirs

69-og(Written June 15, 2014)

“Feel Like Funkin’ It Up”

In the HBO series Treme, the opening parade sequence, all of 6:46, heralds the program—in its entirety—one that will ripple and storm and flood into 36 episodes over four years. The mise-en-scène depicts the post-Katrina re-jiggering of New Orleans, three months after, as it affects one neighborhood, the Treme. It’s a noisy array of street sounds and band music—a trumpet player oiling his valves, a glaring cop expecting trouble, a man lustily tipping a beer, a van going by blasting hip-hop, a fade-in/fade-out snippet of that wanton lullaby, “Do You Know What It Means to Miss New Orleans.”

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The Social Author #6: Rachel Maddow, Isocrates, and the Power of Speech Print E-mail
Essays and Memoirs

Rachel-Maddow-013014-MSNBC(Guernica May 22, 2014)

Strange as it seems, writers and their work used to be welcome on TV. Via YouTube we can find, from 1959, the very cool, Boston-inflected Jack Kerouac, reading from On the Road to a jazz trio improv on The Steve Allen Show, and, from 1968, a very inebriated, belligerent Jack on Firing Line with William F. Buckley. There’s Jerzy Kosinski, William Saroyan, and Gore Vidal on Johnny Carson, as well as (my favorite non-author) the foresty-eyebrowed Ed Begley Sr., reciting Robert Service’s “The Face on the Barroom Floor.” Mike Wallace probing Aldous Huxley. Edward R. Murrow person-to-person with John Steinbeck.

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Review: Memoir: An Introduction by C. Thomas Couser Print E-mail
Criticism

0538480(American Book Review, 35.2, May 13, 2014)

A book that intelligently and capaciously introduces memoir for the general reader is, like a Chicago Cubs pennant or a movie reuniting Robert Redford and Dustin Hoffman, long overdue. Such a flight I’ve been expecting, and I’m happy to say the bird has landed. So much about the memoir’s individuation in recent years, having gained traction as art and as therapy, C. Thomas Couser addresses. It seems there are few better qualified than he to take on the form. Since the late 1970s, Couser, American Studies professor at Hofstra University, has become a formidable authority on life-writing—with American Autobiography (1979) and Altered Egos (1989), about our national obsession for self-writing; Recovering Bodies (1997) and Signifying Bodies (2009), on the true stories of the ill and disabled; and Vulnerable Subjects (2003), about the ethical landmines authors face, writing about willing and recalcitrant intimates.

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Men in Peril, Hollywood, & Our Culture's Skewed Portrayal of Heart Disease Print E-mail
Essays and Memoirs

heart-1-somethings-gotta-give(Bright Lights Film Journal April 11, 2014)

In our culture, the onset of a myocardial infarction is depicted (we know it best from the movies) one way: a chest-clutching, chair-clattering, death-summoning heart attack that a man (seldom a woman) suffers in public, is ambulanced to emergency, and, if he survives, awakens to one or more of these three dramas: the unplumbed depth of his character, as in he’s never too old to learn; the unconditional love of a woman who cares for him; and the exposure of his relatives’ divided loyalties. There are genetic legacies to expect it, there are gender roles to enact it, and there are psychological wounds to graven it. Not surprisingly, for decades Hollywood screenwriters have used the infarct to wring out a morality tale whose outcome ennobles women’s love and retribution as well as men’s helplessness with this “male” disease. There may be no better example of the female-comeuppance, heart-expanding, heart-attack film than Something’s Gotta Give, a 2003 screwball comedy by writer/director Nancy Meyers.

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Orality Hunger (for David Shields) Print E-mail
Essays and Memoirs

Magnavox(Solstice March 15, 2014)

Since I began writing nonfiction more than two decades ago, I’ve ranged from book to long-form journalism, criticism, essay, memoir, and, of late, video essay. Form changes and so, too, does focus; I adapt to the different style and voice. Each time the tone shifts as well—the critic’s bark, the memoirist’s grandiosity, the essayist’s guile. Moving among these voices, I find I love the challenge and the change. How far might I push myself?

With each book, I’ve added a wrinkle. I want the books to sound, to ring, in the culture, in and beyond the written realm. I want my books and their texts to be oral, to take a parallel journey in the speech arts—dialogue, lecture, and multimedia. Put more simply, I’m a fidgeter; I have to move between book and presentation, the written and the oral, during and after composition. I’ll explain by describing each of my books.

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The Social Author #5: The Fearless Oratory of Christopher Hitchens Print E-mail
Essays and Memoirs

hitchens(Guernica February 6, 2014)

In Mortality, Christopher Hitchens’ trenchant elegy to the vocal chords he was losing to esophageal cancer, he writes that, “To a great degree, in public and private, I ‘was’ my voice. All the rituals and etiquette of conversation . . . were innate and essential to me.” At the Guardian, where, just out of Oxford, he got his journalistic start, his mentor told him that his prose was well argued but dull. Write “‘more like the way you talk.’” Life-launching advice. One swipe of the screen back in Mortality, he notes, “It may be nothing to boast about, but people tell me that if their radio or television was on, even in the next room, they could always pick out my tones and know that I was ‘on’ too.”

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We Don't Call Them Drones Anymore Print E-mail
San Diego Reader

20140205(San Diego Reader February 5, 2014)

I want to believe that when we talk about drones —also known as unmanned aerial vehicles or unmanned aerial systems —whose bodies vary from pterodactyl-big to mosquito-small (the Robobee, a robotic insect, weighs less than 1/300th of an ounce), and any one of which will soon be taking off, in ungovernable numbers, in our coming (2015) deregulated airspace, we are not talking about General Atomics’ “Predators and their Hellfire missiles bombing daycare centers in Afghanistan.”

But the drone has already earned its inalterable reputation. Much to the chagrin of the man who uttered the sardonic quote above: the resourceful, loquacious, fingers-in-many-pies Lucien Miller, CEO of Innov8tive Designs, in Vista. Miller is behind his desk in a small office, next to an adjoining warehouse, one of hundreds of manufacturing warrens in the Palomar Business Park. Dressed in a light blue knit shirt, faded jeans, and comfortable loafers, Miller is a-flurry with info and PR on unmanned aerial vehicles and their possibility. Which is why he’s adamant that the word “drone” is a great misnomer.

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