Category Archives: Great books and writers

Since I Laid My Burden Down by Brontez Purnell

Video by Nick Taplin, Post-Consumer Records

Saw a video a few months back of Brontez Purnell reading from his up-and-coming book Since I Laid my Burden Down and had to get a copy as soon as it came out. Tried to read it with his voice in my head. The book has been doted upon with a marvelous thick library jacket by New York City University’s Feminist Press.

The punk rocker, performance artist and otherwise notable Oakland figure, whom I remember as one of the few interesting people on Earth in the vacuous universal hell of 2005, published the zine Fag School beginning in 2003. He has also published the Cruising Diaries in 2014 with the collaboration of Janelle Hessig, from whose Tales of Blarg I first heard of his exploits, as well as 2015’s diary-style Johnny Would You Love Me if my Dick Were Bigger. Since I Laid my Burden Down is sort of a Bildungsroman framed in a memoir. Is there a word for that?

DeShawn, blessed with the emotional receptivity that marks a faggot amongst his church-centered community, reflects during a funeral trip to his Alabama hometown of his trajectory in making his life meaningful, and not wasting his faggot people skills in the office of a rural preacher. Regardless of his shifting relationship with his mother, there is the feeling that he thinks his mother has limited her life becoming a preacher herself.

DeShawn is drawn as a product of generations raised by women, with men absent or devoid of father quality. The protagonist seeks mentorship and trust naturally, nevertheless, through his everyday channels, even through an older married lover. Despite making his own way, fleeing Alabama for California, DeShawn never really feels like he can stand the weight of his life on his shoulders, and has problems with memory and scale. Like a lot of us. The story

The book is full of family, church, death, sex, and the perverse distortion of time and place unique to being in one’s early thirties. Particularly rewarding are the terse but deft descriptions of family members, such as “DeShawn’s mother always spoke recklessly when it was unnecessary, and coolly when it was greatly needed.” Wait –how do they ever know when is which? Does the narrator mean this in hindsight or…?

Throughout the story DeShawn visits two funerals and relates cleaning out several dead people’s houses, visits the gracious and lovable mother of both an early lover and an early abuser, and wears out the patience of a girlfriend in New York, all the while taking stock of the relationships he put on hold or fled when he left Alabama. Along the way he sees some ghosts that grow more vivid and some that thankfully fade.

The prose is unadorned and direct, more diary-like in the beginning, with creams of sly humor beaten in. The back of the book features quotes that I personally found a little hysterical, such as “foul-mouthed and evil.” Perhaps these refer more to Johnny. Purnell’s narrator swears a lot, but only in that the book irreverently records the living language, and is meant to be read out loud. This, in my opinion, is one of the book’s greatest strengths. Anyone obsessed with Pitchfork-level simile-spraying could find any great oral art in corners of Brontez’ sentences, from beat literature to Henry Roth to … I don’t even know, I hate that phony free-association name-dropping stuff. Altogether I appreciated that the prose, though steeped in contemporary slang and naturally-occurring humor, betrays none of the lascivious revelry of Johnny but rather a deep and true affection and understanding for most of DeShawn’s characters, regardless of whether he gets along with them.

He knew feeling good was a setup

Reading the sexual escapades and mentions of a youth steeped in punk rock, it was kind of hard for me, at least, not to place Brontez himself in for DeShawn –as he placed himself as close to the fictional glass as can be in Johnny –so I recommend the reader enjoy the book first and then go cyber-stalk the poor, highly-exposed author. The night their post-Loma Prieta freedom punk warehouse gets closed down, even a fictional lover tells DeShawn “everyone knows who you are.”

I also appreciated how Purnell manages to fit the realities of Deep South life into the story in tiny but excellent bites. This stuff is unimaginable for us west-coast types with our Hollywood-deadened intellects, and the author even points that out in a funny moment. He relates how the principal at the school would remind DeShawn, when he got in trouble, that “your great-granpappy used to raise chickens for my family…” This is the medium of DeShawn’s family’s story that must never be overlooked: in the south there are these horseshit relationships that can be evoked as if to show loyalty, but are really just threats of force. In turn, the protagonists internalize this doublespeak and wield it on each other with varying degrees of purpose (we’ve got this out west with Latino immigrants too). Maybe I just found this insightful and brilliant as a dumb Californian beach bum. What am I gonna school the reader with, the abusive roundabouts of various pelagic fish?

It’s probably clear by now that my only challenge for Purnell for next time, should he decide to do a next time, is to work out before writing who the narrator is. This way the key emotion, be it sex-crazed enthusiasm or reflective love, can really shine through consistently. The reader also could really get cozy within the work’s world if Purnell takes the above decision, moving on some from the format that seems to have begun with Johnny. Finally, this will doubtlessly also address some nitpicky tonal issues I have with some parts.

Since I Laid my Burden Down is a document of a unique life within its unique time and place, an effective and efficient balance of the personal and the universal. Cut that self-conscious crap out about “I don’t recommend every book to everyone.” Get Brontez’ new book and have everyone you know read it!

I have to say, for myself, that I feel that more of these kinds of stories are auspiciously coming into my life. Not necessarily being written, but coming to my attention. Maybe I just don’t get out enough, I don’t know.
But anyhow, when I read Since I Laid My Burden Down, I enjoyed it in one way the same as I so immensely enjoyed Malae’s What We Are: in that the books are full of people I would be friends with. It’s not so simple as “an outsider,” because the question would be, outside of what? Rather it’s a member of a certain socio-economic group who has made certain socio-economic choices within the flush of cash of the Bay Area, a consciously growing and becoming, empathetic scumbag, with no time for the oppression of success, health or other bullshit. Stuck in a phenomenological spiral. The kind of people whose extinction I constantly fear after years of living in Santa Cruz and San José. When I read these books I feel like they were written for me!
Incidentally they both dropped Bukowski’s name, who may well have been highly empathetic besides being a scumbag. Some scholar can comment below about that.

I feel, further, that this book’s approach belongs at least in part to the great tradition of “pack all my youth into some stories so I can stop trying to remember every last bit of it and get ready for the all-out fuckery of maturity.” Brontez certainly demonstrates in Burden the wisdom and ability to handle time and memory necessary to do so, and he certainly has a fascinating maturity and decline ahead of him, unlike most of us. The Savage Detectives is also a great example of this approach, and even I myself, at least as concerns dialogue, am dumping all the silly shit I ever heard from fifth grade up into the mouths of my characters in Byebye and Shlort, the thing I’m working on. I’m excited to see what Brontez comes up with next.

Visit the Howlarium

It’s been a while since I posted a check-in with the Howlarium! Jason Howell has been inviting writers to take advantage of his challenges and tricks for some years now, and there’s always a killer essential question and a passel of samples of stories from writers everywhere in the Howlarium.

The present edition consists of chunks of writers’ stories and works in progress. If you’re a proper writer, that is to say, a writer who likes to read, you’ll love it. Go visit!

Many Persons Mirrored and Duplicated In One Person

Not nearly enough has been written about John Irving’s In One Person since its publication in 2012, so having read it just now I thought I should contribute notes of both a literary and a most spiritually didactic nature. For a synopsis one can visit any number of websites.

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In One Person’s world has a private language habit, a Shakespeare lens for everything, and a spiralling theme of crossdressers and otherwise non-gender-binary men. Irving’s trademark truly excellent characterization and cagily naive narration abound. What struck me most about Irving’s book, however, is how funny it is.  Even in the grim third quarter in which we watch most of protagonist Billy Abbott’s friends die of AIDS, we get about 500 words of tragedy and then an offhand remark that makes us laugh out loud. Maybe it’s just my sense of humor. Like when he comes after a long series of AIDS vigil sequences to his hometown for a relatively simple checkin with a dead faculty member of his school: it is discovered that the orderly has only brought the corpse out in the snow to smoke a cigarette, not to wait for the hearse. Anyway, In One Person has no gags; rather, the timing is incredible.

I would like to point out a marvellously-rendered literary surprise in the book out of fear that it may be too often missed. The arc of investigating people’s identity soars beautifully throughout the book, but the end holds a satisfying surprise. As much as the book’s title may allude to the folly of casting people into vulgar categories that support people’s gang mentality, and the phenomenon of these categories occurring “in one person,” the title is revealed in the final chapter to also represent a conceit about our lifespan, aging, and successive generations. When the son of the protagonist’s forbidden crush from the very beginning of the novel shows up, bearing the only reliable evidence of what’s become of the wrestler Kittredge (his own one person mirrored in the elder wrestler and love interest Miss Frost), Billy underscores the voice and look of the younger Kittredge, who is the spitting image of his father. As Kittredge helped Billy start off on a path, Billy is now providing perspective for Kittredge’s kid.

Here the story’s spirals finally converge: we have not only the sexual phenomena gathering in unexpected groups in one person, but also the mysteries of maturity and life experience. The son of Kittredge and his father are as one person, but also the fate of Kittredge, Miss Frost and now the young transgender student Gee fit into one person, shifting identity through time.

Irving has  been subtly warning us about this conceit throughout the book, particularly with the symbol of the yearbooks and with his complaints about terminology. As an artist who’s also struggled with the identity police over time, I really appreciate Billy’s annoyance not with the new terms, ie., transgender vs. transsexual, but with the rigidness with which successive generations of people insist on the correctness of these terms. Irving argues hereby for compassion and also curiosity: before you criticize someone older for not using the new hip term, be a fucking smart person and find out the nature of the old term.

Finally, I’m grateful on behalf of those old enough to remember that Irving has chosen now, in the age of complacent suburban gender-queerness that seems unable or rather unwilling to see itself from its socio-economic angle, to force AIDS back in our faces. People my age will always remember that AIDS was far scarier than nuclear war, and people Irving’s age get the satisfaction of having their 1980s set –properly, I would argue –in the frame of the AIDS epidemic. Think of the suburban Christian terrorism we’ve lived through since the late 80s-early 90s: the PMRC, enforced gangster rap, youth group, Faith Driven Consumer, the Bush administration, No Child Left Behind, Gay-Straight Alliance … what would Robert Mapplethorpe, Klaus Nomi, Essex Hemphill, Marlon Riggs, even Eazy-E and the local dancer, have taught us about these assholes and their judgmental phoniness if they’d made it longer??? Irving reminds us of the time not so long ago when we had to try to stick together, rather than run our campus GSA into the ground for not being suburban white gay or trans enough, because our fucking lives depended on it.

Thank you, a thousand times thank you, Mr Irving, for reminding us about all the possibilities and the cumulative richness of life that must be pursued In One Person.

Días de la selva por Mario Payeras

Acabo de leer este relato en peligro de olvido sobre los esfuerzos de Payeras y su diminuta guerrilla para enseñar letras, organizar y retribuir tierras en las aisladas regiones indígenas del noroeste de Guatemala comenzando en 1972. Me llamó la atención desde una pila de libros en la venta bibliotecaria, y supe de inmediato que el libro me iba a fascinar.

dias

Se trata de la guerrilla que tras años terminaría con nombre de Ejército general de los pobres (EGP) que espantó tanto al puñado de ricos de origen española y estadunidense que controlaban vastas tierras, enriqueciéndose con el labor de indígenas analfabetos, como usted el lector capitalista se engorda con las fresas pizcadas a espaldas rotas aquí en Santa María, Salinas y Guatsón.

Para mí la cumbre del relato fue cuando matan al dueño explotador de una finca sin tocar un centavo de la paga que interrumpieron. El libro incluye cuando posible a vocablos indígenas para cosas comunes de la selva. Me gustó mucho su medida distancia con la que dibuja los personajes y acontecimientos, que deja sitio para ironía, cariño, espanto y la todoimportante autocrítica marxista. Me asombraron también las descripciones de esos personajes ocultos en las aldeas de la selva, a cuyos tiques y característicos personales Payeras describió con tanta atención y humor.

Realmente nada más se necesita decir del libro en 2017 aparte de ésto: imagínense que ahora casi nada se ha mejorado en Guatemala pese a los esfuerzos relatados en el libro, y que hoy en día gringos pendejos de Berkeley de California hacen su eco- y café-turismito en esa misma región guatemalteca en busca del café perfecto para sus fair-trade non-profits de mierda…

Recomiendo el libro a todo quien tiene ganas de aprender más de la historia de resistencia indígena, o sea de revolución, y a quien luchara con la Mockingjay, con el ejército de Dumbledore, etc etc etc.

Sense Magazine 1971

So old man Tommy upstairs finally died a few months ago and, as he had no family left except an equally ancient and doubtlessly equally arthritic brother in Japan, my dick landlord hired a company to clean out his apartment. His whole life went into a dumpster. I could write a whole essay cycle on just that, but I won’t now. Anyhow I got to go in his thoroughly pre-internet, archival apartment and tried to get whatever I could that caught my eye.

He had a voluminous shelf of Chinese and Japanese cookbooks, tons of 1980s-1990s TIME-type jingoistic/uncritical photographic folios that we all pored over as kids looking for answers that weren’t there, ring binders full of local history and newspaper clippings (a post on that coming soon), city and county pamphlets on health and aging and disaster preparedness and shit, and sundry stuff such as what you see below.

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Above is the cover of Sense Magazine. This wasn’t the metrosexual men’s Cosmopolitan of the current decade, but “the portable marriage counselor,” a “sociological” publication by Academy Press of San Diego, volume 1 issue 2, from January 1971. I’m not sure how much WordPress cares about nudity and stuff so I might not scan in pages. In any case, it’s basically a hardcore full-penetration etc. skinmag BUT with clinical explanations for everything –you can practically hear the voice of Art Gilmore reading it –adjacent to the photos, and you had to really want it, because in 1971 it cost $5 when for that you could see Zeppelin and remain to learn firsthand about fellatio, cunnilingus, fetishes, orgasm, lesbianism and male homosexuality.

Without scanning photos, we can say that the fun part is not the repetition of sex photos but the weird Marin County tone of self-whatever and openness (the woman’s biting her nipple with a fucking fake skull and what’s more that NEVER gets explained) that pervades the magazine. It swings between matter-of-fact, which is good, and a certain uncomfortable distance; you know, that avuncular voice from the mid-20th century of a middle-aged guy hired to sound smart about this shit who privately wouldn’t have anything to do with it.

There is ample mention of totally hipster-level trends of the time such as “What is the ampallang?” and “Are these really adequate substitutes for the male penis?” It quotes experts as much as possible, such as obviously Kinsey as well as Sexual Actions and Reactions by Burch Robbins.

What’s more, a certain photo of two women using a vibrator shows a huge battery pack on the back of the thing obscuring the one woman’s privates, like you’d see today on an orbital sander, and the metal label is hard to read but I thought it said Sylvania or Swingline. What logo is that??? At least I found out in the research for this little blog post that there is a vintage vibrator museum on Polk in SF that I’ve shamefully never visited. I’ll get my life in order in 2017 yet!

The only really heavy part is the series of fuck photos dedicated to incest, which are of course staged, accompanying the straight-faced explanation of that phenomenon. However there are awesome payoffs, such as the headings “Isn’t the Bible full of incest?” and “And what about incest among the Borgias?” If this is a question that anyone on the street would’ve asked on the topic of incest in 1971, that is proof that our current education system is catastrophically off-track.

Oddly enough, we can’t find a dang thing about this magazine on the internet. It appears to have disappeared off the face of the earth, not that this is surprising. All we can hope is that couples looked at the pictures to get in the mood to do it, and that the shameless swingers who must’ve started this silly magazine helped prevent some people from getting divorced or whatever, though it’s more likely that they used it to attract people who were into throwing power-orgies of epic proportion.

If anyone wants this magazine, please comment and I’ll gladly mail it as I’ve already read it for its historical import and am over it. If you want it and you are Thomas Pynchon, you can count on my discretion.

Those Dark New Hampshire Woods

hampsire.jpgPropitiously, auspiciously, precipitously ran into Desmond Reed‘s work by chance on Tumblr, which for all the fat and noise is really one of the few places left one can sign on and see a ton of awesome art with relatively little digging.

A celebration of life’s will to grow, Those Dark New Hampshire Woods concerns a few weeks in the life of its denizens, rendered from all of whose perspective, looking inward and showing us how it is from over their shoulders, not unlike As I Lay Dying.
The book, like all great stories, like in Faulkner or Bolaño, distinguishes itself both through its place in a universe all its own as well as its exposition of the stories within that world in an elegant and silly spiral of nested and/or tangentially-related vignettes.
Amongst other instantly-relatable characters we meet the drifter, who drifts, the scumbag, the wild hairy uncles, the world’s smallest pervert, who seeks happiness despite being on the other side of existence.

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The obscene god of rebirth from Those Dark New Hampshire Woods

It is in the story of the Scumbag and the Troubled Teen that we encounter the persistent theme of nature’s regeneration, presented by means of the cloning by pore of the characters, reducing the proud, complex human down to the physiognomy of the plant kingdom. The joy with which their bodies relentlessly reproduce cycles through the setting and creates a second whirling narrative wheel.
My only gripe is what the hell is going on in the New Hampshire woods, and how does one end up there?
Those Dark New Hampshire Woods is a work of modest comic art blessed with satisfying textual depth, a work of literature not to be missed in the 2016 crop.

I also got the second one but honestly I haven’t even read it yet. I’m too blown away.
The books are published by Birdcage Bottom Books, and when you buy stuff from them you get a bunch of extra stuff!
https://www.birdcagebottombooks.com