All posts by barrett.hathcock@gmail.com

How to set up for a gig

Only touch it once. 

Okay, I admit. This is not always practical. I just moved an elder teen/young adult into college and I touched everything in that van about eight hundred times, but the principle remains. Even if it’s an ideal, a shimmering city on the hill that we will never get to, unobtainable and abstract and perfect, a mirage — like true love, or a literate and informed electorate — it’s important to still have goals and guiding principles. So the first principle: only touch it once. 

And by it I mean all of the crap that you are taking to the gig. A quick digression re that crap. And to be clear I am talking to you, dear reader, the gigging, semi-pro, weekend-warrior musician, and not the young adults who just embarked on the cruise ship of college. You don’t need all that crap. The less you take, the more fun you’ll have. It’s a spiritual-proportional riddle. As a professional told me once: at the beginning of the gig, you set up your stuff; at the end of the gig, you tear down your shit. This encapsulates the emotional Freytagian triangle of gigging. Those hills and dales will be lessened in their severity if you take less stuff. Sure, there is some back up stuff you reasonably might need, a cord, some strings. But you don’t need three electric guitars. You don’t need all those cymbals. Marie Kondo those artifacts into outer space and see just how little you can take and still be effective. It might even make you sound more interesting and it will definitely make the trip back to the car afterward more enjoyable. 

Second principle: only one trip from the car. Rarely do I get to park close enough to the venue to unload directly from the car, and I despise walking back and forth from the venue to the car with only armloads of stuff. It feels inefficient. I have a friend who transports all of his items in tiny hobbit bags, which means he takes 17 trips back and forth from his Honda to the bandstand. One trip. Put it on a cart with wheels. I use the RockNRoller Multi-Cart R6RT “Mini,” previously reviewed here. (Yes, every morpheme of that name is copyrighted.)

Now it would be nice if you could load the cart with the ingredients in order, so that you could take stuff off the cart and place it directly where it needs to go, like a snake sliding out of old skin. But stuff doesn’t go on the cart that way. You have to load the big box-like stuff on the bottom and the looser, more tote bag-like stuff on top, and that does not make for a snake-skin-shedding gracefulness when unloading. So the best next method I’ve found is going extremely slowly and not talking to anyone. I realize I sound insane, but when unloading/setting up my stuff, I keep my trap shut and I move slowly and with deliberation. 

It also helps to visualize. You need your bass amp near the drummer but on his left because he has weird issues when you set up on his right, but you’re going to have to steeplechase over the guitar player’s crap due east, as he’s diligently hunkered over his NASA-like pedalboard which, you guessed it, is giving him trouble again. Think before you shoot. Look at the field of play. Pretend you’re hosting one of those home redesign shows and you’re plopping down generic midcentury modern furniture blobs in the graphic user interface of your mind. 

Don’t chit chat. Don’t look at your phone. Don’t go get a drink. Slowly, with a kind of cud-chewing intensity that would alarm bandmates insufficiently acclimated to your level of dedication, vision quest where you’re going to put your stuff, and then methodically unload your items and place them accordingly. This means that at some point you’re going to have to unload an item that does not need to be placed in its final resting place yet. Simply put it on the ground next to your cart. Do not I repeat do not find another waystation spot for this item. Move it as short a distance as possible, i.e., right beside the cart. Don’t worry about being in other people’s way. It’s not like that guitar player has a leg to stand on. And the keyboard player is too busy playing with the Erector Set that’s supposed to become his keyboard stands. And the drummer is late, naturally, and will have to trebuchet his stuff over everyone else’s stuff. 

Once the items are unloaded, if there are bags, put the bags inside one another. It’s like coming home from Kroger. All the hobo bags go into one master hobo bag. Now you’re free to start hooking everything together. Place first, then do the cords. I like to have all cords in one bag, with the exception of powered PA speakers. I tote those in zippered bags that have pouches for their essential power cords. I realize this is a little bougie, but this way every speaker always has a cord with it. I never promised you this blog post would be entertaining. Otherwise, all other cords — extra power cords, ¼″ instrument cables, XLR cables — go into one rolling suitcase, so that I can flip the top and pull out what’s needed, and more important, so that at the end of the night, I can coil up the cables and toss them directly into the one dedicated bag without thinking. This is how the West was won. 

Then, the gig is over. Congratulations, you made it. Now comes the fun part. You’re going to power down the system, split the tip money, and then unplug everything. I try to make-up for my general Terminator vibe by splitting up the tip money as soon as possible. For some reason I find the mass unplugging part fun. Then, the less-fun part, you’re going to coil all the cables up and throw them in the suitcase. True, the individual speaker power cords can’t go there and will need to be coiled and placed on the floor immediately next to said speaker. I allow myself a little afterglow reverie chit chat during this portion, but not much.  

Then and only then you can retrieve the hobo bag collection and start to bag your speakers, including their power cables. Note: It doesn’t matter which power cable goes into which bag because they are all IEC C13 power cords now. The point is to prevent your future self from showing up to a gig with a powered speaker but no power cable. 

Now here’s where the snake-sliding part comes in. Put those speakers on the bottom of the cart and layer your lighter stuff on top of it. You are building a cake. Then wheel it outside to your van. You have a van, don’t you? Get a van. Or something that has a tailgate. I myself yearn for a small car, a cheeky little two-door, something that might be called “zippy,” but the problem is the trunk. You have to lift items over and down. Warning: this is a Back Risk. It’s better to place or slide items along the uniform plane of the truck, car, or wagon’s cargo space. (Plus, I got kids.) Unload the cart directly into the van with the lighter stuff moving back toward the center of the van and the last-unloaded heavier stuff toward the rear of the van, which means that, yes, that heavy, box stuff will be the first items out next time and can go directly on the cart. This is the Golden Ticket. 

One thing I’ve learned is that although the van is quite handy in terms of the amount of stuff you can fit within it, you don’t have to fill that guy up every time. If you are taking a full vanload of stuff to each gig simply because you can fit it in your car, that’s bad. It’s a freeway-lanes-increasing-traffic type of problem. Also, after moving myself and helping people move and listening to various old dudes pontificate on the proper way to load a moving truck, I have internalized the knowledge that the heavier items need to be loaded first and placed toward the front of the cargo bay. I still agree with this, but the van is different because hopefully you are not taking an entire van load of stuff and b) none of it is refrigerator heavy. Here in 2026 we’ve got dishwashers that text your phone and drones that deliver your pizza, so I hope you’re leaving the Ampeg SVT 8×10 cab in the garage where it belongs. So that means, don’t push the items into the van all the way unless you have to. Just place them halfway back, so that you can still grab them without crawling into the van on your knees. This is the Special Sauce, of which G Love speaks. Honda van, only halfway full. I hate having to crawl around on my knees. It hurts my spirit, and also my knees. 

Day after a gig I wake up thinking. How could that have been better? How could I make that easier? Part of this is the musical performance. But often this morning meditation returns to the logistics of the gig, because there aren’t really any good parts to that. I realize I sound insane, but it’s all room-for-improvement. It’s difficult because it’s physically difficult, and it’s tedious. It’s also where the physics of amplified sound, and the complications thereof, confront one’s self-image as performing musician. Of course the Marshall stack behind the guitar player looks cool. But setting aside the stage-volume concerns, that’s just a lot of lumber to fit in the back of the Jetta. So you’re always subdividing what you want to have by what you actually need and trying to make them reconcile. Some people online say they will take whatever makes them feel good in the moment while playing. Sure, yes, one wants to feel good. And maybe that feeling good is achieved by having that extra cymbal, those additional guitars. But there is feeling good and there is doing good, and by taking fewer items, moved through space with clear intention, you create less traffic on the bandstand for your mates, and you create less traffic for your later self, your actual self rather than your fantasy self, the one who looks cool. You have to remember the actual self, the tired and sweaty self, the one with physical limits, because that’s the guy you’re going to have to live with.

How to move your kid into college

First, rent a van. Get a big one, as big as you can afford and/or the school will allow you to bring. Get the maximum allowable van. It will beep when you pop it in reverse. Pop it in reverse often over the three days you have the van in your possession. Each time, look around in a panic trying to ascertain where that beeping is coming from, who is about to back up nearby. Amaze yourself with your inability to remember yourself. 

Walk through the dining room grumbling about all the boxes, all the paraphernalia, all of the extraneous supply. The helicopter keeps dropping off canisters to boost morale amidst the quagmire. Express skepticism on the practicality of all this stuff, much less the loading and unloading, and the fitting into the linoleumed dorm room. Get gently reminded at first that your opinion is not relevant in this situation, that you are on a need-to-know basis in terms of logistics and purchasing. Later you will be less gently reminded. Try to accept your figurehead status. 

Manifest indifference to the ever-growing hubbub, the percolating of anxiety, the friction of expectation. Walk around saying stuff like “people go to college every day” and “people have been leaving for school for a hundred years.” Wonder why no one in the family wants to hang out with you except the dog. (You’ve finally learned that the only thing the dog understands is tone of voice, so if you keep that in check the dog will hang indefinitely.)

The day before you leave, take off work to pack the van, and then grump around the house because the stuff that goes into the van is not yet ready to be packed. Everyone is supposed to help you pack the van, but everyone is scattered, running about, going to appointments. Feel resentful as you stare into the vacant rear of the van. Finally, after dinner go up to kid’s room and see that everything is lined up neatly for retrieval, see how the room looks irrevocably changed, looks like someone is moving out. Grab the bags silently. Make several trips unable to say anything to anyone, to think anything. Pack the van slowly in the dark after everyone has gone to bed while listening to Death Cab for Cutie on your airpods and feeling like this is it though not able to articulate to yourself what “it” is. 

Drive the van by yourself because everyone else is in smaller, more reasonable automobiles. Listen to your jazz music loudly until it annoys you into silence. Get a Chipotle burrito and eat it while driving to save time and regret it for the rest of the trip. You’re certainly going to have to pay some kind of cleaning fee now. Resolve, not for the first time, to stop eating burritos. 

See the Buc-ee’s. Pass by the Buc-ee’s because you are trying to make good time. 

Pull into town. Remember your own innate fondness for college towns. Subsume yourself with nostalgia for your own youth. Itemize the body parts you’d chop off, the small crimes you would commit, to experience that college time again, that pre-time, those Before Times, before you became what you are now, two parts [redacted], one part [redacted], three parts [redacted]. Before you became a parody of the dad figure in a sitcom rerun. Before you became the less funny version of that. 

Find the dorm and try for once not to panic about parking. 

Resolve for once in your life not to complain. Resolve to be a source of warmth and light for at least this one day. Resolve not to raise your doubting questions, your parental skepticism, your dad sarcasm, your husband cynicism. Resolve briefly to be the person all those people out there wish you to be. Resolve not to gripe even when after unloading the vanload of crap you go to the trendy mexican place where every other recently moved in freshman is eating, so that you stand in line for an hour, in your sweat-dried moving-in clothes, gut gnawing, a situation about which you would have normally pulled a full Yosemite Sam. 

Emphatically hold the door for other dads and moms. Like start holding the door open when you see them pulling into the parking lot. Practice a kind of yuppie solidarity. Resist the urge to compare and contrast the cartloads of crap that the other parents are pushing into the dorm. 

When it starts to rain while you’re unloading, say incongruent statements to fellow dads, like “Feels like I’m being peed on by frat boys!” and “This is like something out of a Cheever story!” and “Did you ever grow up with one of those little train sprinklers?” 

Almost pick a fight with the bearded RA who won’t get out of the way while you’re pushing a cartoload down the hall. He just stands there explaining something unimportant, like the mail room. Almost say, “Hey chief, how about you move your fat sophomore ass out of the line of traffic?” because you are sweaty, and he is annoying, and you are inexplicably gunning for a fight, searching for someone to hate, someone to unload all your angst upon. 

Say aloud, “This dorm is co-ed? Since when?” 

Practice your emotional detachment skills when nothing quite fits the way it was intended. Do this by drifting into a semi-nap, while leaning on a desk in the still-vacant room next door. 

Realize that every sentence you’ve said to your kid about college has really been a mistranslation of “I want to go back to college so bad I could spit.” Belatedly realize this was perhaps not the best foundation for life advice. 

Find the distant lot where you’re supposed to park the van after unloading. See that it’s across the street from a field of corn, incongruously. Say aloud to the van, “Well, we’re not in Kansas anymore.” Do a 37-point turn, with beeping, trying to fit the van in between a Yukon and an Audi. Try to forget that you clipped the side mirror of a Ford F-150 earlier with the van’s own Dumbo-eared side mirrors. Turn the van off and then have yourself a little come-apart. Practice your breathing and resolve to get in better shape once you get home, realizing that you’ve got a lot more hills to climb, parentally speaking, and that you’ve kind of let yourself go here lately. Try to make it back to the dorm on foot without calling to ask how to get back to the dorm. 

Realize that taking kid to college is not unlike taking them to swimming lessons. Realize that everything you’ve done as a parent has been like swimming lessons: too loud, a real pain in the ass in terms of logistics, too expensive, run with startlingly less expertise than you’d imagined, annoying somehow both to parent and child, but provided to save the child’s life in case they happen to find themselves located in water, either accidentally or intentionally.  

Swing by the dorm one last time to hug your kid and say goodbye. Rehearse in your head all of the pithy wisdom you’ve accumulated in your life so far. Outside the dorm, lose all of those sentences and be left with statements like, “gosh, it’s hot” and “so did you get registered for all your classes?” and “think that de-humidifier will be sufficient?” Coagulate all your father-strength, like a hero at the end of a Marvel movie, in order not to have a come-apart on the front steps of the dorm, while other families are unloading their vans of supplies, and your kid is itching to get back upstairs and get this life phase started. Realize that nothing you say in this moment will supplant the years of actual lived parenthood that the kid has experienced, and realize that you can’t remember the quality of that parenthood experience and hope that it wasn’t too damaging all told. Reflect that it’s probably for the best you don’t have perfect recall of every moment and interaction. Resolve, not for the first time, to be a better version of yourself. Resolve, not for the first time, to get by the gym every once in a while. Try not to crush kid with power of your hugging. 

Get lost driving out of campus the back way. Marvel at the resources and divisions of the modern R1 state university. “Swine lab?” Stop at the Buc-ee’s. Fill your van tank at one of the endless gas pumps. Relieve yourself at one of the endless urinals. Walk around and marvel at all the stuff you could buy to make yourself feel better. Marvel at the arrangement of twisted freaks that occupy a Buc-ee’s at any one moment in time, like Wal-Mart and Disney had a lost weekend together. Take a picture of the Beaver Nuggets display to send to your kid later. Then, on second thought, buy a pack of Beaver Nuggets as a potential snack option for the drive back, because who are you kidding? You are not above Beaver Nuggets. 

Odyssey of a face

Sure, the movie was fine, but I couldn’t buy Zendaya as Athena. Every time she popped onscreen, I thought, Hey, there’s Spiderman’s girlfriend again. I didn’t really have this problem with the other actors. I believed Matt Damon as Odysseus. He was stoic and brooding and exuded a type of weathered concrete utilitariness, a certain Jason Bourne-ness, rather than any kind of wiliness, but I wasn’t constantly pulled out of the fictional dream by his face. Same with Anne Hathaway. Briefly I was aware that she was the actress Anne Hathaway, but after that momentary interruption I was back in the dream. The only other character that stuck out in the same celebrity-distracting way was Charlize Theron as Calypso, which mostly just made me giggle. I leaned over to my trusty movie companion and said, dude ain’t going back home. 

I don’t really care about the interpretive freedoms that Nolan took with the film. What else was he supposed to do? It’s a movie based on an ancient oral poem from over 2,000 years ago that at some point was written down. Adapt away. I do think that in this adaptation he gave it a very contemporary, PTSD, war-fable spin. And I do think that it can be mapped a little too neatly onto contemporary world historical events, if that’s your interpretive bag. I don’t really care about the casting. I do think Nolan is up to interesting moves there, though I would have to sit through all that rumbling and screaming again to get a better angle on it. 

But I’m often curious how certain actors are believable as different characters while some actors are always themselves, and then further how some actors are always celebrities. So De Niro might be an example of the first one, or Meryl Streep, someone who convincingly becomes different characters in different movies even though we can step back and say yes that’s the same human being in those different roles. And an example of the second might be Tom Cruise, who I find persuasive but who is always relentlessly Tom Cruise, with all of those beautiful teeth. (Can you imagine going through life being that handsome? It would be spiritually deforming. Or great fun. Or both.) An example of the final category might be someone like The Rock. He is always The Rock no matter what. He’s never going to be anything convincingly but The Rock. 

But Zendaya and Theron aren’t like that, are they? I mean, I’ve only seen Zendaya in the Spiderman movies, but I find her persuasive in those. I realize she’s been in lots of other stuff and that she’s married to Spiderman, but I haven’t seen any of it. I haven’t seen that HBO show about the wayward teens. Hey, I’m a middle-aged dad. I can only handle so much intensity. 

I don’t think it’s her skill level as an actor or her ambient stock price of celebrity. I think it’s because she didn’t have enough to do in the movie. She didn’t have enough to say. Athena appears every now and then as Odysseus’s conscience, and she says some various Yoda-like stuff, and she makes that frowning forehead-face that she does so well, but she doesn’t ever become a character. She doesn’t do anything interesting. One of the details of Greek myths I always loved growing up is how the gods behaved like people. But Zendaya’s Athena is a flatly christian, beneficent advice-giver. A burning bush would have had more active screen presence. But that’s not an acting problem. That’s a writing problem. That’s an adaptation problem. That’s a Christopher Nolan problem. Maybe my spectrum of celebrity is wrong, and any actor could become someone else in my imagination with words enough and time. I can forget who they are if they’re given something interesting to say and do. Even The Rock could morph into Hercules and clean the stables of my mind.

Likewise with Theron as Calypso, who is motivationally ambiguous as a character. Does she want him to stay? Does she want him to remember? Does she want to him to keep hanging, maybe throw something on the grill for later? I think this confusion comes from how many bits are conflated within the Calypso character here: the Calypso character who Odysseus shacks up with for several years on his way home; the Lotus-Eating chapter where Odysseus’s men eat the fruit and forget everything and generally turn into college sophomores; and the staying with Nausicaä and her family, where he regales them with his adventures and is adored and has the chance to ditch Ithaca and its complications and start anew with the young, attentive, moon-eyed Nausicaä. 

I think here again I would have forgotten who was portraying Calypso if she’d had more to say. Instead she just cathects around the beachfront looking ravishing and pensive, dressed like an outdoor bar at a beach-themed chain restaurant. These two childless middle-agers should settle into a first class condo together. If Nolan had wanted to make that Calypso role interesting and dramatically potent he would have made some key changes. Calypso would have been much younger, bordering on inappropriate (trapped on an island with drugs and Sydney Sweeney?), or at some point in their should-he-stay-or-go debates, their three kids could have come out of the wigwam to ask about dinner (trapped on an island with a Pack-N-Play and Jennifer Lawrence?). No, this is not in the Odyssey, but then there’s a lot in this movie that isn’t in the Odyssey and the real question is how to make it dramatically coherent and relevant for us here today. I get the whole “we did terrible stuff to Troy” regret fable part, but what is Calypso bringing to the table to keep him there? What game is she slinging? Please let me witness some game. He stays there because he can’t remember, and he can’t remember because he doesn’t want to remember, because he is ashamed and horrified by what they did to Troy even though it was his idea, and they won because of his cleverness. The hero as self-hating schemer. But this is a contemporary and sexless spin on the poem, which really seems to be about how hard it is to stay faithful while out on the road. All these adventures and scrapes are exit ramps onto other modes of living, other situationships, other women. A drunkard’s dream if I ever did see one, etc. 

Which reminds me of the main two bits missing from this movie: laughter and sex. Perhaps it’s immature of me to want any kind of humor, but I still do. And it’s the most unsexy film I have ever seen. There is one flicker of eros when Antinous makes his “I got you babe” case to Penelope. Of course he quickly ruins the moment by being a dude, but still it’s there, briefly. But there’s no indication of misbehavior or adventure or naughtiness on the part of Odysseus camped out with Calypso. It’s all very dour. It’s all very north England coast. I was cast back to my favorite mythology movie from my childhood, 1981’s Clash of the Titans, with its stop-motion animation robot owl. Goofy as hell and lots of fun. Nolan seems unaware that adapting an ancient text into a movie is inherently ridiculous. I did like how the cyclops eye was sideways but was made anxious by his nudity. I kept worrying we were going to have to witness Polyphemus’s giant cyclops dong. 

The siren song scene is indicative of the overall gestalt of the movie and of Nolan’s aesthetic more broadly. The song that is endlessly alluring just makes him scream his head off, as if he’s being tortured. I understand that it’s torturously tempting but again it’s not particularly cinematically interesting or convincing. It’s all very Abu Ghraib of Nolan, who as we know from the Dark Knight trilogy is above all interested in torture. 

Is Odysseus being tortured by the sound of the song or is torture the song made manifest? Is torture what the song is about? Is it art that both depicts and inflicts pain? As there are no honest anti-war movies because stuff blowing up simply looks too cool, a career-long over-emphasis on the depiction of people inflicting physical pain on one another would seem to indicate an attraction to, rather than of a revulsion from, violent human suffering. This is what life is about, Nolan seems to be saying. We burn each other’s houses. We stab each other’s eyes. We break each other’s backs. There are brief commercials of regret. But stay tuned. 

The audience sits lashed into the stadium seats of the Imax, thrown to the bottom of the well of this one man’s vision, humming along.

A Fair to Middling Day for Bananafish

The father was at work. The father was always at work. Once, before their second had come, the father and the mother and their then only child, aged two, drove by the father’s work — it was referred to as a campus though he was not a teacher — and their daughter said, Daddy lives? Daddy lives? while pointing toward the campus. They all laughed. So cute.

The father was at work. It was mid-afternoon, around 3 p.m., when the chatter over the cubicle tops seemed to lag and the constant beetle clicking of the keyboards seemed to quiet for a few minutes. It was the span of time when it became impossible to explain to oneself what one was doing, at both a micro level and a macro level. The father was thinking about the author and about his new book. He’d read numerous reviews and several interviews. The praise, that kind of slow compulsory standing ovation, where critics put their drinks down and stand up and dust themselves off to begin clapping, had begun, now a month or so after publication, and the father was dipping daily into the online wave. He’d assembled the author’s biography from available data. He’d even read one of his pieces, entirely in the “read more” preview pane on Amazon. He was even thinking of buying the book. He was not unimpressed.

Then, he didn’t understand why he hadn’t thought of this before, he realized that the author would be on tour, and that there was a possibility he might come close to Memphis. It could happen. He quickly started searching. When he was motivated, he could be very efficient online. There it was: two Sundays from now, at the big bookstore out east in the heart of old money Memphis. He was doing a signing at 2 p.m. It was a twenty minute drive from where the family lived. Now he could make that, certainly. Right?

Hey, can I go to a book signing thingy at the DK Sunday?
time?
2
this sunday? we’ve got Harlan’s party
no no. Next sunday. The 8th.

He awaited her response. He awaited the arrival of the percolating dots that promised her response. Maybe he could ask Stephanie from Accounting to come over and help out, though his wife hated Stephanie, for some reason. It was the period of his life when any non-work yet away-from-family time was intensely negotiated, because a meal had to be made, an ass had to be wiped, a stomach bug had to be squashed. If nothing else, there was a sink full of plastic that needed to be washed by hand.

sure that’s fine. just might need your help getting naptime started
sure, no prob
yr day good?

#

It must be said that the father’s interest in this author was not entirely platonic. He too wanted to write. He had written. He’d even published a handful of stories, three book reviews, an essay about guns inspired by his grandfather, and once, in the thinnest of journals, stapled together somewhere in Minnesota, a poem. He had gone to two schools and taken all the seemingly necessary classes one takes when one wants to be a writer. In short, this wasn’t some personal fad but an endeavor that he’d spent his 20s pursuing. But now he was deep into the weeds of his 30s — the wet field of his 30s, mud steadily caking on his boots. We’re going on a bear hunt! He now understood what an escrow account was. He’d priced car insurance competitively. He had had an almost friendly argument with fellow parents about BPH levels in conventional plastics.

What the father had not yet done and what truth be told seemed increasingly far off was publish a book. He wasn’t sure if he had “enough” to publish a book, meaning enough material. His wife did not roll her eyes when he said this, which was the reaction he was always waiting for. Instead, she took a kind of encouraging pliable silence, a willed refusal to be annoyed at his own blind self-absorption. The father of course wanted to publish a book because that’s what people who wrote did and a book was what led to reviews, and interviews, and even perhaps a chance to teach at a college, which he had only done once as a graduate student and which he had in fact hated. It was a semester of grading 40 essays a week on the most banal topics imaginable, and the essays were executed with the utmost contempt, when they were given any energy at all. But teaching after a book, teaching writing classes — it would be much different. The students would be self-selecting. The women would predominantly wear glasses. They would be more inclined to pay attention to him. Really all the father wanted out of life was a steady stream of young women wearing glasses paying attention to him.

There was something about this author that the father couldn’t ignore. As someone into his mid-30s, the father was improving his ability to ignore contemporaries who could be perceived as radically more successful than he was, people who might under certain angles of light illuminate the father’s own inability to live up to his own (always theoretical) potential. This became a necessary life skill if one didn’t want to live through successive waves of envy and rage.

Why was this author an exception? Well, first he was male, and only a couple of years older than the father. The father had become a finely tuned device for measuring someone’s age and graphing that age against the vertical axis of their potential and then cross-overlaying his own corresponding graph to see how they lined up. It made a kind of sense that this author was so successful. He was at least two years older than the father. And if his Tumblr was to be believed, he’d only had one child. From his preliminary internet research the author did not appear to have attended graduate school. Instead he had been working at magazines for years, and not working for magazines as camouflage for a succession of unpaid internships writing topical lists, but actual reporting for actual articles. In fact, the book that he was now out promoting was a collection of those magazine pieces, an absurd proposition. They were now called “essays.” JFC. He had written one book previously, something about horses. The father had a theory that the smoothest path to authorial success was to write a first book young about either horses, brain science, dogs, cats, one’s sexual awakening (if female, or if male and gay), one’s misspent youth (if male and heterosexual), one’s abuse by the clergy, or one’s culturally mixed Middle Eastern upbringing in the Midwest. It was best to combine these elements: it would be beneficial to write a female coming-of-age story located in a western rural state that involved sexual awakening and horses and the brief threat of clergy abuse, with a late-breaking questioning of one’s sexuality. The only thing missing from a book like that was a dog and Abraham Lincoln. Or a dog named Abraham Lincoln.

Despite knowing this, the father had not written such a book. And it wasn’t out of some principled stand against such books existing. In fact, the father had not written much at all. He had started a few books, he had written several stories, really more like extended jokes than anything coherent or marketable. But at this rate he was going to have a very nice collection of published fiction ready to make the rounds of agents when he was somewhere in his mid 50s. Of course, he knew that agents did not consider story collections, remarked on this fact bitterly to his friends (who would listen), resolved to write a novel that perhaps involved a horse, and continued to go to work.

In addition to being young, male, and ridiculously successful, this author was also southern. Well, he was not truly southern, he was marginally southern — motherfucker was from Kentucky — while the father was fully, unavoidably southern, some might say belligerently southern. And yet the author was in the middle of a full-on southern bear hug by the Southern Literary Establishment. Which, to be sure, is not that big of a deal, demographically speaking, but it is still something, in particular something that this father had dreamed of withstanding, the bear hug, had dreamed of living through since he had been old enough to realize there was such a thing as a Southern Literary Establishment, which gave out bear hugs. It was not easy seeing all those fragments of praise being issued by the gray-headed white men scattered around the southeastern United States, laying out in terms tired and undistinguished how distinguished this new writer’s work was. He was successful enough to draw praise from people he did not personally know. Or maybe he did know all the people who were blurbing him, which made him even more fearsome, suggesting as it did that he was — by dint of talent and/or conspicuous conference attendance and/or just going to a lot of lunches — the most well-connected non-NYC living male under fifty this side of the Mississippi River. He was quickly becoming the person shiny magazines called when young artist-celebrities died and they needed eight-hundred words of non-vapid appreciation. When they wanted that think piece thought through.

#

Sunday. They made the mistake of eating lunch out. Eating out with kids was always a mistake, the father maintained. They didn’t get home until dangerously close to 1:30. They lived all the way downtown on a little island that was not actually an island, but it was on the river so it felt exotic and Nantuckety to refer to it as an island. The father immediately took the four-year-old to pee. The mother tripped backward over a strategically placed red tractor. The baby sat in his punkin seat on the dining room table, sucking on the garage door opener. In the distance, one could hear the door opening and closing, opening and closing. He began a constructive activity for his daughter to engage in during naptime, which meant he got out the iPad and jabbed at it frowning while his daughter attempted to decide which program she wanted to watch. Caillou was forbidden, she knew. She settled on Word Girl, a program which had initially excited the father but which now was just part of the distracting background noise of domestic life. One only paid attention if the signal peaked, distorted. The mother with hand on sore back took an Alleve and went upstairs to attempt to put down the baby for a nap. It was 1:42. The father began to pace their small house, waiting for his chance to leave.

The wife came downstairs at 2:03. The father stood at the door with his keys. The mother fell into the couch.

“Where do you think you’re going? That’s right. Your thing. When do you think you’ll be back?”

“Three-thirty at the latest, I imagine.”

“Well okay.”

“Are you still sure it’s okay I go?”

“Yes, of course. I’m sorry.”

“Positive?”

“Yes, go.” Just then the baby let out a shriek, a solitary warning shot, a reminder of just who was in charge. “Go before I change my mind.” The snappy Word Girl theme music played him out.

#

The bookstore was palatial — part bookstore, part toy store, part café. It was the perfect spot for ladies who just wanted to grab a quick bite during the week. In short, it was a kind of power broker location within the city’s domestic set, the woman’s suburban version of the Biltmore’s male bar. He knew the signing would be held in the back, in a little clearing just behind the magazine quadrangle. He pivoted his way through the Sunday shoppers. This bookstore always seemed crowded, sold every kind of decorative or organizational knick-knack one could imagine, and had long ago pioneered the technique of selling anything remotely book-related in the bookstore. In the furthest recess of the store was the kid’s section with a huge, alluring train station set up in the middle, a honeypot to the under seven set. There was always a gaggle of moms on the bleacher seating, nursing coffees, thumb-rubbing their phones, clucking. In the clearing sat a lone table, a pile of books, and a sheet of paper. It was 2:18. He had driven as fast and as strategically as he was able.

There was no author anywhere to be found. He walked up to the table. The books were a pile of his newest, published as a paperback original. The sheet said “sign up” at the top, and there was a pen lying beside it. No one had signed up. He was curious whether or not there would be a crowd. Sometimes he felt as if he were the only person in the city who was reading books, really reading books, the right books, the books that deserved to be read. He realized this was something he could never say aloud to anyone because they would look at him like he was insanely narcissistic. He wrote his name and phone number on the paper. He looked around the store. He pivoted like a drone surveying a field in Afghanistan. It was the usual Sunday crowd, or what he thought was the usual crowd. He could not see the author anywhere. He knew what he looked like from the internet. Light brown hair, high receding line, frequent stubble, essentially lipless, a surprising, almost affected baritone, an intentionally rakish tendency to leave the top two shirt buttons unbuttoned. Not unattractive, which the father had a theory about. He grabbed one of the books. He wasn’t sure how it worked. Did he need to buy it first? He put the book back. The seats they had set up were empty except for one old funkster toward the back in a raincoat who was deliberately wetting his index finger as he bent and flipped each glossy page of Vogue. He did not seem to be here for the reading. Certainly he hadn’t missed everything. Just then a woman walked by. She looked harried, but like being harried was a uniform she wore to work, a kind of hat. He’ll be right back, she said. He’s gone to the cafe to grab a bite to eat but he says he’ll come back to sign more books. As if there had been some gigantic rush.

So the father retreated to the seats and sat down for a few minutes and began thumbing through his phone, checking his tweets, dipping into Facebook, the land of baby photos and passive aggressive life updates, more tweets. Then, the guilt of playing with his phone while sitting in a bookstore while waiting to meet an author he ostensibly admired. He went into the magazine quadrangle and approached the lone literary magazine shelf. Everything about American literature could be gleaned from a magazine section of a large bookstore. An encyclopedia of tits and bridal tricks. He picked up a Paris Review and began thumbing through it. Perhaps it would function like a beacon. He looked over the edge of the periodical and over the edge of the magazine shelf and scanned heads for the author. He was out there somewhere.

What was the father going to say to the author? Did he think they would become friends? What was the point of meeting people in person that you more successfully met on the page or screen? Why trade that private distillate for the fumbling awkward orchestra of meeting in person? What was he going to tell this guy? Hey, I like your stuff? Hey, I am ravenously jealous of your success? Hey, I appreciate you and what you’re up to? As the reading area continued to seem abandoned, the true purpose of his visit became clearer: he was there out of respect. His bodily presence was merely a way of signaling to the author that he, the father, was paying attention. He was a representative from the unswept corners.

But was that the real reason? Was there not a thin, curled whittling thrill of seeing someone in person who was so apparently successful? Was there not an attempt to bond with that person as a peer rather than just an audience member — a position of dependency and inferiority? Was it an attempt to crawl out of the darkness of the seats onto stage for a brief moment? Or did he just want to see what the guy really looked like? To verify that he did in fact exist and to return home knowing that he was another male human in the steady proliferation outside the father’s house?

Nothing. There was no action at the table or in the reading/signing area. He took his Paris Review with him back over to the table where he had inspected the sheet of paper. There was his name and his phone number. Why they needed his phone number he had no idea. But he was still enough of a student that he followed orders.

The harried employee came by. He should be here in just a few minutes, she said. He will be right back. She craned her neck up and looked over the shelves toward the bistro, then waddled on.

The father discovered a Paris Review in his hands. Where did this come from? He sat down on the first row and began flipping the pages. He’d given up reading literary magazines because the stories inside enraged him. How could these stories be printed and not his? It was a reading comprehension problem at its most primeval. He looked toward the bistro. A brown-headed man was craning his own head and looking over in his general direction. Then the head receded back into the general population of heads.

The father tried to lean back in his chair and peer around the book shelves to get a better look inside the bistro. Was that him? Was he back there somewhere? He momentarily lost his balance and his chair swung back to the ground. He got up and moved a couple of rows back.

He leaned back again, this time more securely, and he could see a brown-headed man in a sport coat sitting at the bar and talking to a tall brunette man. Just a couple of dudes having lunch. Was that him? Did one of these guys look over in his direction? He watched them eat and talk. They had an easy jokey away toward each other that suggested they’d known each other a long time.

Yes, the one on the left. That was the author. In profile, laughing in between bites, something about the exact position of his hairline and his shade of stubble. That’s the author.

Okay. Fine. So he is having lunch with a friend. I can continue to wait. The father went back to his phone. He tried not to notice the time. He’d been waiting twenty-two minutes.

Thirty-five minutes. He continued to look over at the bistro bar. It was definitely more interesting than anything on his phone. In fact, this was the first time he could remember when there was something much more interesting nearby than anything trapped within his phone.

The Vogue-reading funkster had moved on. The only sad sack still waiting around pretending to read was the father. The penguin lady started to waddle in his direction, looked toward him and squinted in pain, and then changed direction. Was that directed at him?

Come on now, this is fucking ridiculous. I’ve been here forty-five minutes. A waiter arrived at the table in the bistro. It appeared like tab settling was imminent. It was awfully hard to inconspicuously stare while leaning back and turning sideways and basically leering in the middle of a cleared reading-signing nook area. Yes, tabs were being divvied up. The black-haired guy stood. Man, he’s tall. Serious, corner office-level stature. The father eased his own chair back down and sat forward like an athlete waiting to be called into the game. He put down the ridiculous Paris Review. He walked up to the table and grabbed one of the books and held it with both hands. He looked back at the bistro but that section of the bar was now blocked from view. He sat down on the front row, crossed his legs professionally, the book resting on his crotch.

After a moment the tall black-haired friend and the penguin intersected at the signing table.

“Did you —”

“Yeah, it was great.”

“He’s great.”

So great,” said the black-haired friend. “We go way back. He’s really going places.”

“Well thank you for coming.”

“You bet. I’m just going to grab —” and he reached forward to grab another paperback to join the no doubt already signed copy pinned to his chest. Neither acknowledged the sitting father. Then they walked off in the general direction of the front of the store.

Probably friends from school, the infinite years of school. And what is this “going places” bullshit? Dude is already at that place. Motherfucker got his book of essays written up in the New Yorker for the love of god. This guy doesn’t know what the fuck he’s talking about. And he’s the one who gets to have lunch with him? He’s the one who gets to shoot the shit at the bar just because they played seventh-grade basketball together or whatever? This is why I’m here. Because no one understands what he’s done, what he has accomplished. No one appreciates him.

Ten more minutes passed. Still, no one came by. He thought okay surely now that lunch is over it would be time for the author to come back by. The penguin said he would come back by. But there was no one. The bookstore was an old lady ghost town. He looked at his phone. It was 3:23. He’d been there over an hour.

He stood, which seemed to make him angrier, but he didn’t want to sit down again because his ass hurt. He’d lost the ability to sit still. How dare they treat me this way? He approached the table. There were four copies of the book left. To the pile he added his own. He scanned his immediate area, desperate for someone to appear and rebuke him with their presence, but there was no one. Well fuck him if he thinks I’m going to buy his goddamned book, mister fucking epic skip town lunch fucker. He picked up the pen and crossed out his name on the list of potential signees. And below it he wrote, “left after waiting over an hour.” And then he underlined “over,” because that would make it clearer somehow. And then he added, “I am not a loser.” Immediately he regretted it. He should have written “some loser.” No, he shouldn’t have written that either. I don’t appreciate being treated like a loser. No, no. It sounded crazy, desperate, loserish. He thought about scratching it out, but then there would be the forest of maniac pen redaction which would be an even greater loser move than writing what he had written. His pen hovered over the intractable words in a fugue of panic. He dropped the pen and turned to leave. He had a sneer ready for the penguin but he couldn’t find her anywhere as he walked to the front of the store, turning left, then right through the maze of bookshelves. It felt like Pac-Man, but then who were the ghosts?

“Can I help you?”

The father turned around automatically, before thinking. It was the author.

“I’m glad I caught you. I missed you at the signing station. Do you . . . Did you want to get your book signed?”

“Sure,” the father said. “That would be great.”

“Do you wanna . . .” and the author craned his head backward, toward the little table three maze rows back.

“Yes, sure,” the father said, not entirely clear to what he was agreeing to.

He walked behind him. The author looked rumpled, like he’d slept in his clothes. He was about the father’s height and his hairline was much farther back than his pictures indicated. The hairline wasn’t even really receding anymore. Dude was basically bald.

“Yeah I was grabbing lunch with an old high school buddy and it ran long. There was something up in the kitchen. You know how those things go.”

“Sure. Did you go to school in Memphis?” He chastised himself for asking the question, already knowing the answer from his preliminary research.

“No, I grew up in Kentucky, but my parents sent me to a boarding school in Tennessee, on the east side, near Chattanooga.”

“Oh, yeah, um, what’s it. Good school.”

“Yeah, it was something.”

They arrived at the clearing.

“You live here in Memphis?” the author asked.

“Yeah, I’m originally from Birmingham, but we ended up here for a job after schools and stuff, touring around the southeast.”

“Oh, yeah, well this is a cool town. I ended up in Raleigh.”

“Uh-huh.”

“North Carolina.”

“Right, of course. I’ve heard that’s lovely. Is that like in the research thing or like outside of it? You know the . . . the polygon?”

“Oh, yeah it’s in the triangle.”

“How’d you end up there?”

“Wife’s a doctor.”

“Ah, smart move,” the father said.

“Yeah, well I sure couldn’t be one. My kid skins a knee and I pass out.”

The father snorted automatically. Instantly he was afraid he’d snotted on himself. He tried to check but make it look like he was merely scratching his cheek.

“I hear that,” the father said through his hand. “My kids and I have a deal: no blood and I’ll make them three squares a day. Any blood and they’re on their own.”

“That’s funny,” the author said without laughing. He appeared sincere though. “Let me get you a book.”

The author turned toward the table with the scattered paperbacks, the pen, and the sheet, which was still there proudly, waiting to be discovered. The father did not move. He had not frozen. He could have moved if he wanted to. It was only that it was impossible for him to backflip out of the entire store in that moment, so option B was to stay rooted in his feet. The author touched the desk, grabbed a paperback. Was he lingering over the sheet of paper?

“Do you want me to make it out to someone in particular?”

“Uh like a gift?”

“Just to you?”

“Sure.”

“What’s your name?”

“Uh, my name? It’s Michael. My name’s Michael,” the father said. It was his actual name. He was powerless to invent another.

“Great.”

The author was able to hold the book in his left while purposefully signing it with his right, the mark of a true professional.

“Michael, I’m Jared. It’s nice to meet you,” he said, handing him the autographed copy.

“Thank you. Nice to meet you too. I’m really looking forward to reading it.”

“Hey, thank you. I’m really proud of it. Years of work. Hey, you working on anything?”

“Me? Uh, yeah, you know, stories and stuff.”

“Oh, that’s great. God, it’s hard with kids. To get any work done. If my wife wasn’t a doctor, I don’t know what I’d do. I thought of dedicating the book to our nanny.”

“Ooh, probably an unpopular choice — not that anyone actually reads front matter anymore.”

“Precisely! It would’ve just been a waste. It would have gone over everyone’s head. So I dedicated it to my wife instead.”

“Probably the better diplomatic move.”

“You’re probably right. You’re a smart man, Michael,” and in between them was a hand, floating. Apparently it belonged to Jared, and Michael was supposed to shake it.

In the car he finally looked. In between the father’s name and the author’s signature, he’d written Thanks for coming! And for waiting so long!

#

Michael parked in the driveway. He’d left the garage door open, and the rear mouth of his house gaped at him. There sat the van, site of pulverized snack cracker dust and dried formula, swirled into a mixture and slowly drying within the machine’s crevices. There sat all of the stuff they couldn’t fit in their house, a type of accumulating museum of aspirational American familydom. A mysterious unlabeled box of books, a broken treadmill, a shrink-wrapped econo-pak of 60-watt light bulbs. A pile of objects that felt demographically pre-determined. The father sat staring at the pile, the exhaust of his house, his life. They didn’t know he was home yet. Usually at the sound of the garage door opening, someone opened the house door, to see what was taking him so long, his daughter hip-weaving through the debris to see daddy. The fuck is a bistro anyway? One shouldn’t be this tired at 3:50 on a Sunday afternoon. There was too much of the day left, too much of life left. He got out of the car and walked toward the back door, no longer sure what story to tell. When you’re young and ambitious, you never realize how hard it will be simply to remain ambitious. You don’t think the very inclination to be ambitious is a practicable skill, an endeavor that will require fuel, focus, determination. It always seemed like being tall. He stood at his back door, a greasy white-painted metal. He could hear faint singing coming from inside, his wife and his daughter. Down came the rain. His daughter was transfixed by the hand motions. Her ambition was to make her hands the most expressive spiders. She had an innocent enthusiasm for the entire manifold of life that was baffling, invigorating, exhausting. This was, he realized, the first purely personal errand he’d taken on his own since the baby had been born. It was strange to think of work as personal private time, his commute as some kind of brief, spiritual oasis. But that’s what it had become by dint of circumstance. The door was cold. When he opened it, it would make a sucking, hermetic, mouth-opening pucker sound, the portal. He yearned to get away, to a take an afternoon by himself, but any time away was mixed with the anxiety of checking in, of wondering how the baby was, how things were going. And the relief of coming back, reassuming the correct role. Self-imposed burdens are the most difficult to extrude. Would Jared keep his note? Show it to his successful, well-connected, blurby friends? Would it become a keepsake, a token of the anti-version of himself out there in the American wilderness? An artifact for the museum of crazies? Or would the penguin simply throw it away without even reading?

The father opened the door, startling the family inside. They all stopped singing. The mother sat on the couch, bouncing the giggling baby on her knee, while the daughter held the baby’s hands, a moment free of logistical complexity and vomit. They all looked immediately to the opened door, and after a snap of silence, everyone cheered.

What’s not to like?

I was ranting to a friend about something and she said, so do you like anything? And it arrested me, because as I get older I do increase my list of dislikes, my discovery of areas that contain room for improvement, my recommendations subtle and not, perceived slights, accumulated grievances, clearly articulated affronts. What do I like? 

I like everything bagels toasted and still warm but with cold, almost solid, cream cheese. I like Al Green at almost any time of day or listening context. I like the memory of drinking Coca-Cola from a six-ounce glass bottle at my grandmother’s house in Cleveland, Mississippi, when still a child. I like the sounds of my children moving around the house. I like it when my dog lays on my feet. I like making strangers laugh. I like the United States Post Office. I like it when I walk by people and they are humming to themselves. I like it when strangers talk to me for no reason as if I were their friend. I like it when people call me boss, honey, hun, chief, etc. I like the ceremonial handshake, the unnecessary fist bump. I like very cold unflavored mineral water from a glass bottle. I like hearing from friends. I like riding a bike in almost all contexts. I like Herbie Hancock in almost all contexts, from almost all periods. I like being sucked into a novel for three days. I like the memory of being nervous. I like not feeling thirsty. I like email when it approaches physical letters. I like postcards in almost all contexts. I like almost everything David Hockney created. I like Louisiana’s Pure Crystal Hot Sauce. I like watching performers who are freakishly exceptional. I like Cynthia Ozick. I like Nicholson Baker. I like thinking about them going about their day in the pale shadow of their lifelong work. I like mid-career Beastie Boys. I like mid-90s David Foster Wallace when his sentences were most elastic. I like how Faulkner is secretly funny. I like tap dancing in old movies. I like that one gif of the puppet giving side eye. I like extremely ordinary drip coffee piping hot with honey instead of sugar. I like kolaches, except those with egg. I like lunch with friends. I like remembering that one great uncle who when I saw him as a child always asked how much I weighed. I like it when my kids riff. I like it when my kids have friends over and they bustle around the house puppy-like. I like this one podcast, especially when the two hosts hit a beam of mutually reinforced riffing. I like going for a walk. I like it when the mornings are surprisingly cool. I like it out west. I like live music if not too loud. I like Robert Hass. I like the idea of a sabbatical. I like Barack Obama. I like the song “C’est La Vie” by Robbie Nevil. I like almost everything by Huey Lewis and the News. I like going to art museums and not reading the captions and only staying for 90 minutes. I like the memory of watching movies by myself as a child early in the morning before anyone woke up. I like how Florida feels porous. I like college towns. I like small cakes. I like British gardens. I like the idea of a pub as opposed to a bar or a club. I like the wild yeast sourdough from this one place in Birmingham. I like Chicago, both as place and idea. I like the television program Veep. I like the television program Seinfeld. I like re-listening or re-watching something I liked as a kid and discovering that I still like it. I like Birkenstocks. I like the suede Adidas campus shoe in grey. I like knowing what the plan is. I like remembering Looney Tunes. I like remembering songs from Sesame Street. I like the Grateful Dead live album Reckoning. I like hitting on just the right song while driving. I like eating a sandwich that was made with love. I like watching tennis on television with the sound off. I like puttering in the morning. I like the idea of leftovers. I like dropping by and when others drop by. I like Levon Helm. I like not wearing socks. I like how a family generates its own private language. I like not having lots of stuff in my pockets. I like feeling freshly shaven after finally shaving. I like rooms that have those really small hexagonal floor tiles. I like the idea of sailboats. 

This is not everything I like, only what I could think of immediately. It’s helpful to remember that I don’t hate everything, that I don’t move through the world taking absolutely everything as a personal insult, even if that’s how I appear much of the time. It’s strange to remember what one likes and to remember to like things — and to refuse to ask why, to resist the categorical impulse, to simply let enjoyment occur, like accidentally wading into an invisible cold patch of water in the creek. It’s hard to be likeable, for sure, but it’s also hard to be able to like things, anything, even oneself. 

Dear Aliens

You’re going to want to eat some ice cream during your visit. Trust me. There are all kinds of variations so go to a big shop. Baskin Robbins is fine. No need to be too precious about it your first time. Everything gets complicated fast enough. Basically it’s milk that’s been churned and chilled, almost but not entirely frozen. The process has something to do with rock salt? Doesn’t matter. You’ll like it. It’s made with milk, which comes from cows’ titties, believe it or not. You might encounter sci-fi, milk-like substances such as oat milk or almond milk. Avoid this stuff. This is computer food designed by dorks. Go for the real mammalian hit if you’re going to try it.

Important note: ice cream melts, so be about it. The hotter it is, etc. It’s compulsively transitory, qua substance. This somehow makes it better, like life itself.

But then you will probably see something called soft serve ice cream. This is also ice cream but just, well, softer. It gets ejected from a spigot rather than scooped from a bucket. So not as thick. The way you lick it is subtly but definitively different. You can get this at places like McDonald’s and sometimes it has toppings. Easily confusable with yogurt, also known as frozen yogurt, which is not the same as real yogurt.

See? Complicated. Real yogurt is made with bacteria cultures and milk. It occupies the same liminal, mouthfeel space in that you don’t really have to chew it. But frozen yogurt is basically soft serve ice cream without it actually being yogurt. I think it was basically a psyop by Big Yogurt back in the day to get people acclimated to the idea of yogurt, meaning regular, tangy, wholesome-but-not-really-dessert yogurt. Frozen yogurt also comes with lots of toppings. Generally speaking, the more toppings that are available, the less fancy the version of ice cream. Those people are just lipsticking the pig.

Then there is custard, which where I’m from we treat with suspicion. It’s made with eggs. These get pooped out by chickens daily, and we turn them into all kinds of stuff. That’s a whole other letter but they’re also weirdly liminal and creepy but still, somehow, delicious. Life here is weird. Custard is made with these but is still gross. It leaves a sticky film in your throat. But then sometimes ice cream doesn’t have hardly any milk or eggs at all and it’s called sherbert, and it’s mostly fruit and always pastel-colored. It’s like ice cream’s preppy, New England cousin. It’s also delicious, very rarely served with toppings, and springier. But then get ready because there’s also sorbet, which is like sherbert’s preppy cousin who’s been abroad for an entire year and is impossibly smug about it. I don’t think it contains any milk at all; it’s transcended it. Also lots of fruit, no toppings, and usually expensive. If they’ve got sorbet on the menu, ask a local to cover the bill.

But then also you might get a milkshake, which is like even softer serve ice cream. As in you don’t even lick it. You drink it through a straw. If you get it in a restaurant, you might get an additional spoon to scoop out the innards, complicating matters further. Quick logistical note: if it comes in a cone, you’re supposed to lick it. If it comes in a cup, you’re supposed to scoop it with a spoon, unless it comes in a long cup and then you’re supposed to drink it from a straw. A milkshake is just ice cream with even more milk so that it gets swampy and, yes, drinkable. Though sometimes it’s just barely drinkable and this is somehow a sign of its excellence. There are flavors here, and sometimes toppings, but they’re not really toppings. They’re in the ice cream swamp itself. Example: Chik-Fil-A peach milk shakes, but act fast because that one is seasonal and remember they’re closed on Sunday. Real proud of that little middle finger to all the pagans.

Alert: an ice cream sandwich is not actually a sandwich. It’s ice cream that uses a cookie as a containment mechanism. But you eat it like a sandwich. Honestly, if you’re looking for something to skip, this is the one.

But if you go to a Dairy Queen, you can get a trad milk shake, but also you can get a Blizzard, which is their proprietary milkshake-like concoction that’s even thicker and comes with chopped-up candy bars inside. Or cookies. You get the idea. These are a little sus and are mostly the terrain of adolescents and adults who have given up on life. They should put a diabetes warning on those bad boys. And then if you go into a gas station you can also get almost edible drinks, like a Slushy which is a fruit-flavored, chunky ice drink that will stain your tongue. More fruit flavors but not like sorbet sophisticated real fruit but like lab-grown, ultramarine alien blue flavors. No offense. Also sometimes at the gas station are the Icee machines which are basically Slushies but cola-flavored and, to my discriminating palate, much better. These are ingested through a straw but a special straw that sports a tiny spoonlet on the end so that you can scoop out those truant half dozen ice nugget crunchers at the bottom.

A Frappacino is just a coffee-flavored milkshake that costs more and comes with a line. A smoothie is just a milkshake that’s pretending to be healthy. Gelato is just Italian sorbet — sorbet’s sketchier, sluttier cousin. You will have a good time with gelato.

While you’re here, lots of people are going to tell you that they’re the real ones in charge. Be that as it may seem, it’s important to remember what one of our best rappers said about all this: the only emperor is the emperor of ice cream.

The website Quarter Mile held a contest for letters to send to the aliens, should they ever arrive. This was my entry. No, I did not win.

The curse of spring

I try not to be superstitious, honest, but as one gets older they creep in. It’s like when people once referred to diseases by whispering, or the way some people pray before take-off. Mostly foolish. Mostly harmless, a small dam against the unknowable and uncontrollable. But there is one medieval, superstitious belief I hold onto and it’s that springtime is weird. Shit goes down in the spring. Excuse my language, but this is serious. Mistakes are made. The fukú reveals itself. The karmic bill comes due. Beware the Ides of March. All that. 

Perhaps it’s just when the statistics catch up to me, or when they are revealed to me, the stochastic churning of the gyre briefly visible underneath the sidewalk, but there does seem to be something about the spring, by which I mean the period between Spring Break and Memorial Day. This is when the accidents happen, the expulsions, the seemingly random deaths, the It-like instances of small town terror, the enactment of scenes from Donald Barthelme’s story “The School.” Spring is when Artax is swallowed by the Swamps of Sadness. Every March I tell my kids: “Don’t catch a case of the Dumb Ass in spring, because spring keeps the score.” They roll their eyes. It has recently been pointed out to me that I repeat myself. Very well, I repeat myself. 

I know what you’re going to say. And sure. But old man yells at cloud because old man got electrocuted on the golf course that one time. The reason Ahab storms across the shipdeck is because he knows who ate his leg. It was spring. The clock-digesting crocodile in Peter Pan? That’s spring. The old men are angry and terrified and feel the phantom injuries from springs past, and no one will listen to their raving. 

There’s something about the pollen in the air, the histamines, the promise of summer or graduation. When I was in high school, I had friends commit impromptu acts of vandalism just before graduation. Of course they got caught, and thus began the intense negotiations between parents and school administrators regarding continued enrollment and hence pending graduation. I had friends who stole props from the local goofy golf course. I think it was to impress a girl? Back in the 90s, grownups wore ties and such acts were not tolerated. Maybe this kind of chaos happens all year long but the consequences arrive in the spring. But even that implies a causality that is not consistently apparent. That’s what makes it all the more unsettling, the lack of clear structure to the misfortune. This ambiguity is what makes me superstitious and makes me harangue my children, this paranoia over somehow angering the gods. 

The thunder shakes the windows more. I hate astrology. I hate hippies. But, like, I feel it in the air, man. There’s something about spring. The truth is out there. Thankfully, it’s almost over. But still, be careful.

Artistic publishing

Yesterday Anne Trubek, founder and publisher of Belt Publishing, posted the provocatively titled “Are Agents Now The Real Publishers? And Are Publishers Making Themselves Redundant?” Her premise is that publishing is itself a creative act, and she thinks through how a publisher might differentiate itself from others, and where creativity lies within the Rube Goldberg machine that is contemporary book publishing. 

In doing so she addresses the Big 5 publishers: 

“The expectations are that the editors at the press need a book to be ‘done’ when they get a query. They won’t do much editing, and there’s so much competition, so when an agent sends a manuscript to the editor, the book needs to [be] just about printer-ready — some copyediting and proofing, sure, but not much beyond that.

“But what does it mean for a book to be ‘done’ when it has not gone through the publishing process? It means that what publishers do is not germane to the book itself. That publishers don’t shape manuscripts. That their work is less creative and more operational.

“Because this is now the way things work with many Big Five presses, agents are now the people who do the heaviest lifting when it comes to shaping a book.”

She keeps thinking through this situation and arrives at the reasonable questions of “what is a publisher actually for?” and also whether or not the agent, having done all of this editorial heavy lifting, would be better positioned to move the book through production, that is, become the publisher him or herself. 

These are pertinent questions, and I’ve already written about some of these ideas before here: 

To summarize myself and to put it slightly more bluntly than Trubek does: literary agents are pimps.

Trubek is absolutely correct that a publisher forfeits its aesthetic judgment, its designation as a publisher vs being merely a printer (a book-binder, a marketer; they do not even distribute them) when it outsources its queries to an agent. A grim, necrophiliac incident from a few years ago is instructive here. In 2015 HarperCollins published Harper Lee’s Go Tell a Watchman and described it as the sequel to To Kill Mockingbird, though it quickly became apparent that the text was actually that classic novel’s nascent form, as yet untouched by editorial guidance. In the related brouhaha, the history of how Watchman became Mockingbird was documented. That is, it was the result of an intense collaborative relationship between publisher and writer. Back then the publishers employed figures who served as a kind of book doula, creating the best environment for the best book to be born. I believe these people were called editors. If it weren’t for that heavy editorial hand, it’s arguable that we would never have had To Kill a Mockingbird, much to the devastation of 8th-grade English teachers everywhere. (P.S. if there is a Hell, all the people who participated in the exhumation of this text and the exploitation of Lee, then senile and near death, will go there.) But now these figures are called agents and they do the same intensive editorial work, with the major exception that they do not put any money up to publish the book. They get paid a cut when the book gets bought, pimp-like, but they don’t write the check. 

As I get older and slightly more cynical (only slightly!), I think that the one who puts up the money, the person who pays the bills, is the one who is the true publisher/producer/etc. They are the ones with skin in the game. If the book doesn’t get sold, the agent has indeed lost time — uncompensated labor. But they’re still not the one who’s going to pay for all that printing and shipping and have to take it in the teeth when they pulp those remainders. 

To be clear, I don’t think the agent-as-pimp comparison is completely negative. Sometimes one needs a pimp! Or at least an explanatory sidekick. There are complex financial transactions that due to their sensitive nature absolutely benefit from a neutral-ish middle-person. Buying a house, engaging in a complicated insurance transaction, the thorny contractual stuff. The kind of stuff your parents warned you about. It’s not fundamentally evil. But with any kind of consultant figure, one who doesn’t make anything, or put up their own capital, or whose contribution to human flourishing isn’t immediately apparent, there is the constant question of “what is that guy doing here?” — aside from raising the price of the underlying transaction, aside from functioning as a kind of professional turnstile.  

Are there publishers actively publishing as a creative act, who are distinct aesthetic entities? Absolutely. But they tend to be of the more independent and small press variety where the skin that is in the game is a lot more precious. The books hew closer to aesthetic objects rather than commodities. Everyone keeps wailing online about AI in book publishing, but have you been to Barnes & Noble lately? Have you seen the covers on the table? I’ve seen more aesthetic risk and individuation in the cereal aisle. Oh, look, there goes another middle-aged woman finding herself after heartbreak. Oh, look, another searing historical family saga that is somehow related to WWII. And the turnstiles only let through one sub-30 female novelist a year. I wish her all the best, and I hope they let her publish a second book after her kid is born.

All I can think is that, overwhelmed by the sheer volume of manuscripts, by the ever-growing mountain of editorial decisions to make, publishers employed the prophylactic of agents, a filtration device, one that has worked too well, one that has alienated them from the crucial job of editing books themselves. This changed the nature of publishing from editorially focused to production focused, as Trubek says. As a result, readers have virtually no interest in or awareness of the publishing house. The only people who care who published a given book are other writers, who are always everywhere aspiring, and thus keeping score. I would say that publishing house inside dope is the province of dorks but that would be an insult to dorks. (All hail the New Directions colophon!) 

And yet, publishers are valuable, because despite their aesthetic impotence they remain good at one thing and that’s getting books on those Barnes & Noble tables. Or on the tables at the hip indie cultural touchstone of your choosing. It’s all about distribution. I remember buying the Miranda July novel All Fours a couple years back in the Orlando airport. I was already aware of it and was surprised to see that novel, presumably high brow, in the airport. A smooth move, publicity wise. (Side note: it’s a good novel. I find July’s public persona slightly grating, but her talent is undeniable.) A writer friend of mine quipped once, when his own father compared his newly published novel to a can of peas lining the shelves at a grocery store, that his novels weren’t peas, and he was right, but also wrong. They are peas. They’re going to be shelved just like peas. They are relentlessly physical objects. (Still working through why I can’t get excited about ebooks). It takes a lot of skill to make the trains run on time. 

And maybe that’s the real lesson here. Maybe the publishers are right: the aesthetic/editorial judgment doesn’t matter. What matters is getting peas on shelves. If they’re on the shelves, if they look like the other peas, people will buy them. Who knows what will actually sell, people are so weird in their tastes, but whatever takes off, they can get more of those same peas to that shelf pronto. Maybe that’s what the publisher is really good for and good at. The best of what has been thought and said was always a low priority — more of a side quest. They just outsourced the part they don’t really care about: what the book actually says.  

In it to win it

The other day on Substack Ross Barkan wrote a note about Ben Lerner and how he didn’t publish frequently and how that surprised him — how back in the good old days successful writers published a book every couple of years. And he’s right. People don’t seem to publish as often now. I was reminded of Lorrie  Moore, who went ten years between Birds of America and A Gate at the Stairs. I remember the good old days (the 90s) when Updike and Roth were publishing books so frequently that keeping up was a form of cardio. 

I realize that material conditions are different now. And I’ve read enough author interviews to know that Moore was likely raising a child by herself during that time period. The frequency of publishing is not really a judgment on that person’s character, but a desire to see that person more, read that person more. If you like their voice, you just want more of it. It sounds like judgment but it’s really just the greediness of admiration. 

There are a couple of current writers who publish frequently, Brandon Taylor and Lauren Groff and Barkan himself, and props to them. They are out there hustling. Then there are the semi-famous who have almost stopped writing books entirely. I am thinking of Michael Chabon, who has been working on TV stuff perhaps? But still. It’s been ten years since his last novel Moonglow. I realize that everyone’s conditions are different, man’s gotta eat, and television is a valid medium, all that, but still. There’s being stuck in development hell and there’s books being stuck on my shelf, and I know which I’d rather have.  

The list of people I wish would publish more frequently is legion. I won’t list them out of fear of being whiny and weird. (Batuman! Gates! Beatty! Wherefore art thou?)

Some people get so famous that any additional publishing dilutes the brand’s prestige. Example: Cheryl Strayed. But that’s marketing logic, not reader logic. Was I excited when Updike published Gertrude and Claudius later in life? Did I think it would help his brand? No and no. But I’m glad he was out there trying new stuff. The other night I caught Andre Agassi playing pickle ball on TV. Pickle Ball. On the one hand: what a pathetic attempt at garnering attention and prestige and money from a person past his prime. On the other hand: dude was covered in sweat, smacking that ball like a man who knew what he was doing, in the game. And I was on the barstool watching him. Turns out you don’t ever win the game. You just stay in the game. 

And the crowd goes wild. 

Commerce in the morning

I love the feeling of commerce in the morning. Grabbing a bagel at the coffee shop, stopping off at the drive-thru bank teller, booking a car while briskly walking to an elevator in a distant city. I don’t know. It gets my small-town, merchant-blood flowing. It’s my middle-aged belief that all real business transpires before lunch.

All that’s throat clearing to say that there is a new online spot where you can buy my book, specifically my Bandcamp page. I do realize that books are not usually sold on Bandcamp, but I’ve already got the page up, and the pipes connected, and that “merch” tab was sitting there unused. This effort is partially inspired by the “you can just do things” discourse, which I’m a sucker for, and partially inspired by a couple of friends out there doing cool stuff. 

The paperback is the “limited baby blue” edition. I’ve got about 19 left.