THOMAS LARSON

(San Diego Reader December 30, 2009)

At the Bayside Community Center in Linda Vista, things are humming along as they have since the center was founded in 1932 as a settlement house for families of Italian and Portuguese fishermen. Having moved up the hill from Little Italy, Bayside still programs activities for kids, teens, seniors, people with disabilities, and new immigrants. Bayside’s service community is San Diego’s most diverse: Hmong, Hispanics, Somalis, African-Americans, Mixtec Indians, and whites populate the hill, many living in World War II–era housing projects. The center’s main role is helping recent arrivals who are socially and geographically marginalized.

(San Diego Reader February 24, 2000; Revised 2006-2009)

I was trembling, tearing open the biscuit-colored envelope, its official return address, University of California, San Diego, Department of Music, Graduate Division. "I am happy to inform you," it began—but didn’t I know the rest, hadn’t I known it in my gut for months, ever since I kissed and mailed the application, that my (our) westering dream would come true?—"The Department of Music is recommending that you be admitted," and then I couldn’t see the words since I was crying and running to tell my wife Annie and four-year-old twin sons: we’d be leaving Santa Fe, our home since 1975, and moving to southern California.

I didn’t say that last bit right off. I read out the very sweet "offer": full tuition scholarship, a teaching assistantship at $5,000 a year, and the Ph.D. track in composition. In five short years, I’d be a bona fide Doctor of Music!

(Open Letters Monthly December 1, 2009)

Books of the City

For readers, what’s exhilarating about great crimes and tragedies in the American South is how quickly, how necessarily, they are translated into literature.

The most recent maelstrom eliciting literary remembrance is Hurricane Katrina, late-August/early-September 2005. But this time it’s not fiction that rushes in. We’re too wired to wait for fiction. It’s nonfiction, and the coverage is personal—memoir, reportage, biography. Fiction will come. But for now the urgency of the witness/participant story is driving the boat. The reason is, Katrina played so well on TV. The writer bounces off that reality, feels the charged immediacy of those pictures of families waving at helicopters from rooftops.

(San Diego Reader November 4, 2009)

If ever there were a San Diego Charger whose postcareer success has matched his years spent on the field, it’s the great Ron Mix. Mix’s glory years came in the 1960s, when the Chargers were in the American Football League. Back in the day, Mix was listed at 6’ 4” and 250 pounds, known as a weight lifter long before football players commonly pumped iron, and nicknamed the “Intellectual Assassin.” On the field, he achieved something that’s never been equaled: in ten seasons, he had two holding calls against him. Off the field, he blazed a trail by becoming one of the few players to earn a law degree—he graduated from the University of San Diego law school in 1969—and one of the very few who got the degree during his career, not after he hung up his cleats.

(Contrary Magazine Autumn 2009)

America's Great Feminist Icon

Every culture has its enduring art—Rome The Aeneid, Italy The Last Supper, Russia the Pathetique Symphony. In those pre-modern societies, the value of art was based on its creator’s mastery and its national or religious cast. Art had not yet been tainted by its earning power. Not until the mid-twentieth century, when mass production of art and mass audiences for its consumption arose, was art’s intrinsic value exchanged for commodity value. Shares in its intrinsic value continue to fall. The art work’s preeminent worth today lies in that cuddly American euphemism, its commercial appeal.

To be viable in the commercial era, art works need social and technological currency: they must court controversy to fuel their sales; they must seek publicity to supplant their merit; and they must be reborn, where apt, in another medium. The prevailing works of the past century are those bent most by commodification. The most bent, in turn, become cultural icons.

(San Diego Reader September 2, 2009)

New English Review July 2009)

1.

Never let the truth get in the way of a good story is the claim every storyteller is admonished to believe. What our ten-thousand-year-old tale-telling tradition (most of it oral) instructs us to do is to be good dramatists and let the story have its sway. This law of the tale, and our drama-loving DNA, is why the Bible has survived so long: its well-told stories were the means by which its morally sound messages were delivered and, tellers and scribes hoped, stuck. When disputes about a story’s authenticity arose, the Bible authors were less keen to preserve history or embrace veracity. Instead they made the drama central, via legend, fantasy, parable, and the fictionalized life, based on Egyptian mythology, of Jesus Christ. The Bible is a work of narrative literature and a work of fiction. But, the problem is, its fiction has almost always been thought of as fact.