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Articles
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 (The Truth Seeker October 1, 2016)
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Why, oh why, oh why do Christians keep killing Jesus? Why, for nearly two millennia, has the nonviolent Lamb of God and politically framed Son of Man been put to death, imaginatively speaking, in gospel, painting, frieze, sculpture, choral mass—and, of late, in HD movies—not to mention sermons that detail his torturous demise to millions of frightened children and unatoned adults? Indeed, the pageantry of his death has been shown in countless artistic scenes and real-life reenactments: from such flat statements as John 19:23—“Then the soldiers, when they had crucified Jesus, took his garments”—to Matthias Grunewald’s 1516 “Isenheim Altarpiece,” picturing Christ’s agonal, emaciated, plague-scarred and thorn-nettled body, to the Good Friday crucifixion rite in the Philippines where penitents self-flagellate and are nailed to crosses and hoisted aloft, willingly, the bloodletting posted on YouTube.
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San Diego Reader
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 (San Diego Reader August 31, 2016)
Cemetery
The thing about the dead that haunts us, in addition to having lost them, is that they are here, in the ground, buried or scattered, bones or ash. Their “remains” are marked, heralded, and sensed, and they are never out of our presence. “To be human,” Robert Pogue Harrison writes, “means above all to bury.” Elephants haunt the places where elephants die. Mammologists have found that the animals weep and nervously pace over their kind. As do we. In San Diego, we have a couple of huge tracts where mourners congregate—the city’s graveyard, Mount Hope Cemetery, with 76,000 internments, and Fort Rosecrans National Cemetery where more than 90,000, “who served the U.S. honorably in war and peace,” have been laid, beginning in 1846, and overlook the azure crescent of San Diego Bay.
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San Diego Reader
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 (San Diego Reader June 8, 2016)
Every scene in a drama, according to the late director, Mike Nichols, is either a fight, a seduction, or a negotiation. He added, as a footnote, the same is true in life. The thrill, or the chaos, is that these three passages may occur in any order. Start, stop, go back, restart, leap forward, keep going, or not. Form follows helter-skelter. So it may also be true of the skittish interactivity experimental artists ask of audiences.
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San Diego Reader
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 (San Diego Reader June 1, 2016)
Virtually no one ogles the industrial vistas of Southern California. Those unsightly realms where giant cranes stipple the skyline. Where ship containers are stacked unemptied of their new Curvy Barbie dolls for Wal-Mart. Where thickets of brightly painted gas pipes crowd the dead spaces beneath Interstate overpasses. Where electrical towers look like praying mantises and factories like Tinker Towns. Reasor, who is a young-looking 50 and who grew up in Denver under its “dramatic skies and high-altitude light,” has strikingly intense eyes; she has a numinous, intense gaze, seeming to record and compose whatever she beholds.
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Criticism
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 (The Truth Seeker May, 2016)
The one- or two-hour biography, whether film or play or documentary, is fraught with landmines: the portrayal reduces the life, redacts the ideas, rings the subject’s good bells, tosses in a token failure or two, and pumps up an artificial destiny. All was meant to be, we see in hindsight, ’tis great-man history. Such unnuanced bios—I’m thinking of films like Ali and Steve Jobs—re-mythologize the life to salvage one on whom history has been confused or ungenerous. We make a flawed man great again if we carefully rehab him. Think of the slow Teddy-Bearing of George W. Bush.
There may be no better candidate for reconstitution than Thomas Paine, secularism’s favorite anti-British British hero of American independence, perhaps the finest polemicist our republic has ever known. During his life (1737-1809), Paine was loved and reviled, the latter, the loudest. In his sixties and an American citizen, he became the “filthy little atheist” and the “devil incarnate,” a pariah to the cause of liberty. One obituary said Paine “had lived long, done some good, and much harm.” His haters’ wrath centered on The Age of Reason (1794-6), a lucid refutation of religion. In days of yore when dissent in print or speech led to the guillotine, Paine disavowed all creeds and clerical authority, judged the Bible a scurrilous tale of a cruel deity, and thought Jesus Christ just another wayward stargazer. A deist, Paine marveled at the Creation and lovingly called the Creator, God.
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Articles
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 (The Truth Seeker May, 2016)
Scripturally Based Hostility
One day in 1991, the head of the Church of Scientology, David Miscavige, along with his top lieutenant, Marty Rathbun, were having lunch in Washington DC, not far from the headquarters of the Internal Revenue Service. Five years earlier, when Miscavige had seized hold of the church’s leadership following the death of their potentate, L. Ron Hubbard, he inherited the organization and its colossal debt to the IRS—at the time, estimates were as high as $1 billion; Scientology’s reserves were just 12% of that—as well as a war of denunciation both sides waged on the other that was years in the making.
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San Diego Reader
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 (San Diego Reader February 3, 2016)
Now open at Cedar and Kettner downtown is yet another San Diego monument to the commute: a $24 million, trolley-side, ten-story (three levels below ground, seven above), 645-space parking structure, bestowing on County Administration Center employees slots by day and on Little Italy revelers slots by night.
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