Saturday, November 13, 2010

Romans in Sturdy Denim


Marketing is mostly bunkum. Politics is mostly marketing, at least during an election season. And if you are interested in the invisible substrate of our collective assumptions--many of which we individually doubt--then nearly everything is political. So how is it that even if we don't see the world the way that we are told Joe the Plumber sees it, we still feel limited in some way by what Joe will supposedly swallow? Fictitious weathervanes of public opinion. Was it ever thus? At any rate, advertising, mythologizing, self-narration, romancing, bullying, pep-talking, vogueing, bunkum--these are sister muses. Especially in an age as persuaded by the rhetoric of images as our own.

V recently commented on my feeling located vis a vis all this American stuff. And the troof of course is that I'm no more located than him. We have equal rights to America, and similar scruples about the ethics of authenticy, about the misappropriation of images by marketers. And maybe a similar body memory of the sting when we're reminded that we might be wearing plaid or whatever, we might be out in the same heat working for the same shit wage, but we're still college boys. I spent a summer in California heat moving scrap metal and used car batteries that had accumulated for years in the inferno of the narrow alley between two corrogated metal warehouses. Coming in overheated and with my clothes coming to pieces from the battery acid, and the old guys who worked there year around just laughed at me, never allowed me the honor of being one of them, even insofar as I was doing a job even they weren't willing to do because I had to have the money. And I suppose even so I wasn't one of them. But why, exactly?

Their suspicion is not without cause, of course. Think of the "Tea Party" "movement" with its familiar Reagan era rhetoric of an evangelical Christian national founding and a monolithic set of "American values". This is a fantasy of the American past. Americans have always been deeply divided; the Union was always tenuous; our present sea to shining sea thing would have been unthinkable to anyone at the Constitutional Convention. If you don't believe me, o Koch brothers, read the handsome two volume Library of America record of the proceedings. Interesting and scary stuff.

And the Tea Partiers are not alone in their more or less deliberate revisions of the past. Both sides do it. We all do it. "Revisionism", though,--and the quotation marks are buzzing like flies, here, as they always do around this fecund poop--is just one way of slinging it. How about "reinvention"? How about "self-interested reinvention"? How about "interested but historically responsible reinvention as one important mode of problem solving"? How about that?

Levi's and L.L. Bean have both recently taken an interest in their own past. And in the case of Levi's in particular, their past has real significance as an image of what is worth repeating in the American past. This despite a history of exploiting other peoples' ideas and labor and distorting their own history in various ways. Levi's hired an in-house historian, Lynn Downey, in 1989, and the brand has wheeled out variations on old designs, some of them very good, and made their archives available to the public. The fact remains that you can buy two pairs of sturdy denim jeans, which Levi's actually does make, and they will, with reasonable care, get you through several years of multi-purpose use. The popularity of such practical clothing, and the fact that in the West at any rate, you can wear them most places without being discourteous to your hosts, says something good--to my mind, anyway--about one aspect of our national values. It's a strange brand of populism that is so fearful about manipulations of the market by "socialism" but shows no interest in manipulations of the market by corporations. It is also perhaps a strange brand of populism that characterizes the poor as subject to a kind of hereditary illness, and seems--in its public rhetoric, anyway-- to have a hard time imagining that the poor could share the pleasures of work. Work clothes made of sturdy denim that show the line of the body, allow free movement and are reinforced at stress points with steel rivets? That's not a bad start for a populist platform.

Of course it's marketing for Levi's, and they have no particular scruples about where populism ends and bullshit begins. Their ads are beautiful lifestyle marketing, like so much marketing. But look at this recent ad--short film, really--and this one which uses what is probably a wax cylinder recording of Whitman deliberately reciting four lines of 'America', his voice holding you so close to the four-beat rhythms of the lines that you feel his hairy chest, the cross-tie scratchings of the cylinder clipping through camera frames like a train.

I hate business writing, so bold-face-emphatic and easy-to-summarize, but I recently heard this thing that might actually be true: "A leaders hire A people; B leaders hire C people." So who are you willing to invite into your self-interested reinventions with you? How much of their voice and vision will you let in? Do they get to speak, or will you merely take a couple names in vain? Is this Levis' ad marketing--speech--that dares to enter the room with something truly anarchic and physical? Something like American Eros? To me it is.

Sunday, November 7, 2010

IKNOWYOUHATEMEBABYBUTDON'TBREAKTHENEEDLE


When George W. Bush posited that "thee hater freedoms, thee hater wayalife," my greatest fear was that a bunch of American religious radicals would combine with religious radicals in other parts of the world and that they would collectively take aim at the mid-tempo alt-country rocker, which is the freak flag of guys like me, and is the only vessel fit to enskull the mythy conscience of my race, narrowly defined in the 19th C sense which guys like me know what that means.

The idea as I understand it is this: if a given song could not be discussed in a conference session entitled The Dust Bowl and the Radicalization of the American Folk Ballad: From Dust to Grit or Is the Answer Still "Blowin' in the Wind"?, then the songwriter must keep revising. And if, in mid-discussion no one raises an index finger, pad up, to the dropped conference room ceiling and mentions Springsteen in half-ironic reverence or reverential irony, then keep revising--(note bene: prolly needs cars). And these conferences really are worth something, a lot maybe. When Pete Seeger, who really was pretty fucking courageous, sits all knees and elbows and chin and bangoneck across from Hugh Hefner and has a televised conversation about the history and implications of playing an African instrument at a groovy televised sexual liberation party with bunny ears and cotton tails and Hef is really listening and asking groovy perceptive questions, then something good is happening. This really happened and I suspect it could not, now.

And I like all this stuff, truly, but it smacks of tourism.

(Why is it that we need to keep coming back to poverty in order to say anything smart about democracy. I think we do.)

But so. A couplethree weeks ago I went on a whim to see a local(-based) band called J. Roddy Walston and the Business. I'd heard a couple songs on the radio and I liked. Reminded me of a sort of cross between early Cheap Trick and Dr. Professor Longhair. Boogie-woogie piano and mic-assaulting caterwauling a la Aerosmith or James Brown or Bon Scott. And I'd been listening to and writing (Gawd hep me), yes, mid-tempo alt-country rockers for so long. In fact I graduated to them from G-major artmurmur poetgurgles that I wroted in the dry well of my soul. I do my best, really I do. But I'm really not sure that the message of rock and roll is :be here now", John Lennon having made the ultimate sacrifice notwithstanding.

This is a little bit interesting: the opening act was this guy who looked really good in blue jeans and wrote mid-tempo alt-country rockers and who it was real easy to tell rode his wallet in his front pocket and made a big point of being intimate good friends with the next opener, Shooter Jennings. Now Shooter Jennings is the more photocerebral--and somewhat shrunk as if abandoned in the parking lot of a Sunglass Hut in a steady drizzle--son of Waylon Jennings. And he wroted an album demanding that the O be returned to "country" and has pursued this whole plan of wearing country duds but more beat up (cf. 'poverty, fake') and being photographed in psychedelic colored lighting from arty angles. But his latest plan involves a concept album co-written and dramatically narrated by Bangor, Maine's own Stephen King about the last era-closing broadcast of an independent rock and roll radio station before the Total Take-Over of a Rock and Roll Hating (because duh) Totalitarian Regime that curiously resembles Abercrombie & Fitch except without those louver blinds. So Shooter strapped on one of them Madonna mics (even less plausible in a tiny club in Baltimore) and straddled a little crotch-level keyboard with also a guitar dangling from him and counseled us rockingly to abjure our conformist ways. He had one of those guitar players with girl-long hair who can't be fucking serious but who maybe is. And the thing is, Shooter just screamed and kept screaming, hitting some serious notes with complete and desperate conviction. And the guitar player just shredded scales and doubled big notes with power chords until I sort of stopped smiling and began to think, fuck, these boys mean it. They're goofy but that's not the issue.

And this has gotten so long because I don't even know what to say about J Roddy Walston and the Business. It was they who were the second opener. But what they really opened. Was my heart. (I mean it.) J Roddy swung his dirtyblonde ringlets at his (actual upright) piano and pounded and pounded and screamed out the sum total of all Anglo-African horror and longing, and spattered us with the cumulative effluvia and sifted gold of all patient river deltas. It was just blues and only rock and roll but Professor Longhair was there with magnolia breath, and I saw Jerry Lee Lewis with his half-kidnapped brides, Blind Willie Johnson testifying in oil-skid feathers like a pigeon, Dylan or maybe Jehovah in a prayer shawl of lightbulbs and hubcaps. And when I walked out ears ringing as if the room still hung ringing around me, there were thunderheads blowing in, and the storm smelled like rust and like honeysuckle and like the sea, and it descended in black tatters over the harbor and Fort McHenry until the last of summer broke in sheets of rain.

Io Sono L'Amore Orange Preoccupation Pumpkin Pie



Zest of one orange in the crust
2 cups squashed up roasted pumpkin
1 1/2 cups of half & half
4 oblong chicken eggs
1/8 t each of allspice, nutmeg, clove & cayenne
(N
ota bene: as you add the cayenne, briefly imagine one daughter saying that she just likes pumpkin pie regular, and another daughter asking why do things have to get different, and then put in)
1 t of ground ginger.
Then in the whipped cream: ground fresh ginger, crystalized ginger cut up real small, the zest of another orange, powdered shug, and a passing afterthought of vanilla. (Things are getting less precise by this point.)

Serve with Belgian ale or a squinch of whiskey or do what you think best.

Saturday, November 6, 2010

Enemies and Friends, Updates

Enemies
Deer
The Internet
God

Former Enemies Now Listed as Friends
Tobacco
Romance Novels
My Penis

Friday, November 5, 2010

Io Sono L'Amore


I am confused and a little embarrassed by the responses to "Io Sono L'Amore". Even the people who praise this movie are embarrassed by it. The Manchester Guardian is careful to slobber on Tilda Swinton's Wellies before tut-tutting without eye contact through another 9 paragraphs. Even Manohla Dargis from the NY Times, whom one would think could get this sort of film because she's really hot, is careful to mention that she's familiar with the whole art-film-as-bodice-ripper thing, and that if she wept a bit it was just that damn gorgeous but literate molar twanging away. Ah, yes--the senses. We took a class in those at Fillintheblankfordbridge.

Even Anthony Lane, who seems almost unembarrassable, begins by separating himself from those who may have just wholeheartedly loved it. First line of his review: "The best sex you will get all year, if that’s what you crave in your moviegoing, is between Tilda Swinton and a prawn." Funny, sort of, but also through-away for someone like Lane, and mostly useful as a kind of Purell for sincerity.

Part of what all this makes me wonder is. Well, first of all it makes me wonder if I'm an emptyheaded goof. And it's partly the frequency with which that question comes up that leads to my other, also perennial, question: Is a certain sort of sensual knowingness actually an innoculation against the senses? Because in my experience if you open yourself to the senses they will fuck you up (that lovely mulled wine phrase). We all have our stories, and it's hard to tell them because they are specifically beyond words. They're about how we come to remember that something is beyond words, about how a single full sensory experience can mobilize years of thinking.

"Io Sono L'Amore" is about that. It's also about the growing and preparation and eating of food, about various shades of saturated orange, about the way that gorgeous interiors come to have the appearance of a real world and ensnare us, and about the difference between bodies when they are owned and bodies when they are royal. It gives itself to certain excesses. But I think what embarrasses people is that the camera lingers on the textures of things in the way that the senses actually linger. Before we drag them back to the task "at hand". So many tasks never so much as civilly greet the hand. (I love that cloth also has "hand".)

And but love. It is a pagan eye that ranges from the grasshopper on a tendril to the spires of the Duomo di Milano, and finds oranges and reds everywhere--Swinton's hair, upholstery fabric, flecks of light on skin and on clay, spices and fruits--everywhere shades of orange. And when Swinton makes her final appearance, or disappearance, pumpkin orange and a gold that seems to trap light spread from the saffron wool rug that marks her sudden absence to illuminate the memory of everything you've seen for the last two hours. Please see this.

Sunday, October 17, 2010

Instructions for the Build-Your-America Kit (The final project for my Constructing America course)


You're going to assemble your own kit. Sources include everything ever done, said, written or made that seems to you in some meaningful sense American. You'll need a problem to work on, a collection of sources that offer possible solutions, and finally you'll propose a solution to your problem through a work of your own that draws on your sources and also includes your own best shot at an answer.

1. A persistent grudge or great hope to guide you. As you go through a day or leaf through a newspaper, what bothers you? What do you characteristically rant about or dream and plan about? Work on that.

2. Your own anthology of texts and test cases.

Once you begin to have a sense of what your area might be, begin to look around and see what has been tried before. If you're interested in American experiments in communal living, you might want to read about the Quakers, the Oneida Community, child-rearing customs among the Plains Indians, etc. If you're interested in vernacular architecture you might want to read about barn raisings, or Frank Lloyd Wright's Fallingwater House, or the connections between Navajo adobe dwellings and modern passive solar rammed-earth houses. If you're interested in American forms of feminism you might be interested in reading about Puritan female healers, Mormon female priests, and the Seneca Falls Declaration. If you're interested in American health care, I really have no idea, but the school and the city are full of people who know stuff.

So many more things have been attempted on this continent than one could be aware of. Before you conclude that American music is only rock and country, check out shape note singing, the hammer dulcimer, and Ogalala chant. Become an expert on things in your chosen area that no one has ever heard of. Begin to gather a shelf of books, clippings, web links, diagrams, artifacts, recordings--whatever seems helpful. Begin to keep notes about what possibilities they suggest. These are your working materials. We'll ask to see them so we can talk with you about them.

3. Now make something that seems like a sort of answer to your problem or question or hope. What we will want you to present will certainly need to include historically grounded writing of your own, but might also include other sorts of work if it seems demonstrably connected to your research. We will want an essay but we might also be sold on the need for making songs, a barn, a health care plan, etc.

You'll have lots of opportunities to try out parts of your thinking with people in the class. For now, just dig in and start gathering and thinking.

Wednesday, October 6, 2010

How I Survived Depression One Summer

One summer my friend Kirk came out to visit. We grew up together and had maintained our friendship despite living on opposite coasts. For years we had talked of taking a trip together, finally the opportunity came, and Kirk flew out west. The night that he arrived we took out maps, talked about sites to see in San Francisco, and read guide books about the California coast. As we talked he soon noticed I was distant and uninterested.

“What’s going on?” He asked.

“I don’t know. I'm bored. I’m tired. I actually don’t care what we do.” Kirk looked at me a moment then shrugged his shoulders, “Alright, no plan. Tomorrow we drive.” The next morning we loaded the car, “Let’s head north, back toward the Siskiyous,” Kirk said, referring to the mountains where we grew up. I had no opinion.

I drove as Kirk took out a CD, “Listen to this,” he instructed. He put in the Basement Tapes, Bob Dylan and the Band working with ancient American folk tunes. He rolled down the windows and turned up the music. “Listen to this stuff…murderers, lovers, hobos, moonshiners, drug addicts…they’re singing about America. The one we live in but don’t talk about.”

I listened as we drove across the dry farm fields of the Central Valley. The day was heating up, we rolled the windows down. “We need beer and tacos,” Kirk announced and then directed me to a stand he knew just outside of U.C. Davis. There were coyotes painted on the windows with students, homeless men, and suburban mom’s standing in line. “Go get some of that salsa,” he told me. “The orange stuff.” I did as I was told, found a table and sat down. Kirk returned with grilled shrimp, carnitas, and a plate of corn tortillas. “I’m going to get beer. You want one?”

“I’m driving.”

“So what, we’ll wait it out. This is medicine.”

Kirk returned and stuffed sliced limes down the golden bottle necks. “Try the habeneros. They’re hot as hell. You know that peppers release oxcitosin in your brain? It’s the same thing as runner’s high. Here get some more of this on you shrimp, but don’t touch it or you’ll burn your fingers.” He smiled and drank half his beer in one lift. I ate and drank mechanically, my mind empty, my mouth burning. We went out and dozed beside a patio table, our faces toward the sun, then headed north into the mountains.

Kirk lowered the window to breath the air steamed with pine sap, forest loam, and lake algea, “Listen to this music!” The vocals muffled, the microphone far from Dylan’s mouth. The drums heavy and slow. “You hear that tempo!” Kirk yelled to the trees, the passing cars, over the motor, over the radio and the air brakes, “That’s hump tempo, brother. Hump tempo!”

We saw signs to the Trinity wilderness, “Turn here.” Kirk pointed. We left the interstate and took the highway along the Salmon river. The mountains were steep and soon the sun was buried by the trees, leaving the sky propane blue. We wound along the river until a yellow bulb appeared, screwed to a wooden sign that read “Carl’s Fishing Cabin’s.” We woke the manager and paid for a night stay.

“Any place we can get some food?” I asked.

“Nope,” the manager said, half-turned toward bed. “I got a bag of pretzels.”

We paid two bucks for the pretzels, and Kirk found an orange in his back pack and quartered it. We set kitchen chairs in a clearing behind the cabins and looked up at the moonless night.

“I’m going to read something to you. Wait here. Kirk went indoors and came out with a night table. He rummaged inside then returned with a handful of candlesticks which he placed in a series of coffee cups and juice glasses. He lit the tilting candles, pulled a chair into their glow and opened a book. “This is Whitman. Now listen. Just feel the rhythm of this thing.”

We had no food for dinner, no plan for the next day, no television, or cell phone connection for distraction, so I sat outside and watched the stars spin and listened to Whitman mourn:

Sing on, sing on you gray-brown bird,

Sing from the swamps, the recesses, pour your chant from the bushes,

Limitless out of the dusk, out of the cedars and pines.

Sing on dearest brother, warble your reedy song,

Loud human song, with the voice of uttermost woe.

O liquid and free and tender!

O wild and loose to my soul—O wondrous singer,

I listened to Whitman’s song, felt his grief rhythms, breathed the warm night scent of the cedars and pines, pulled a blanket up to my neck, and quietly fell asleep.

The next morning we discovered the manager rented inflatable kayaks. We put on shorts and suntan lotion. We found two smashed peanut-butter granola bars in the trunk for breakfast. We filled water bottles, rented boats, life jackets, and paddles and had the manager shuttle us up river.

The day was bright and the river refreshingly cool and white. For the morning hours we stayed quiet, each of us navigating the rapids beneath the August sun, but towards the early afternoon the river skirt spread wide and heavy and eventually we found our kayaks spinning gently in an eddy shaded by young willow trees. Our skin burned red, our bodies tired from paddling, our stomachs empty, we each lay back in our kayaks and fell asleep. It was a half hour, maybe longer, before we rose and paddled the final half-mile to the fishing cabins while Kirk gave me his thoughts, "Buddhism is ancient psychology. They got a system to freedom. All we got is stories. Abraham trying to kill his son. Noah drunk and naked, sleeping with his daughters. That woman who puts a tent stake through a guys head. You see? We're just stories you and me. That's all we got." We pulled our kayaks up the river bank, returned them to the manager, and headed out on the highway mad with hunger.

As we drove out I remembered a restaurant my sister had once worked at. It was run by an Italian, a woman named Madelena from the island of Sardinia. The story was that Madelena was a celebrated five star chef in San Francisco. She married a wealthy, retired stockbroker and they built a vacation home up in Dunsmuir, a poor mountain town along the headwaters of the Sacramento River. After a couple of years, the marriage ended and Madelena kept the house in Dunsmuir, bought the abandoned train depot in town and turned it into a restaurant. From September through May she served dinner two nights a week, Friday and Saturday.

“That’s where we’re going.” Kirk announced. Once we got in cell range I called information and they put me through to Madelena’s. “We have one table at 9:00pm.”

“We’ll take it.” I told them.

We drove north, into the winding Siskiyous and came into Dunsmuir around 8 pm. We found the small depot and waited outside. The building was freshly painted--yellow marigold with blood red trim. Alongside the building was a large herb garden that smelled of marjoram and rosemary. We waited hungry and dehydrated. Finally our hour came and we took our seats. Madelena cooked in the middle of the room, surrounded by a wooden counter-top that came just below her shoulders. She wore a white summer dress with a white apron, her black hair pulled back with a bright red bandana. She was in her mid-50’s, and was startlingly beautiful, like a middle-aged Sofia Loren, dark hair, her eyes large and fierce, her skin browned by the sun. She worked confidently among the fry pans, and steaming pots, barking quick orders to her sue chef. She served the food on white plates then slammed her hand on the counter, causing the wait staff to leave their tasks to deliver the food fresh from the fire.

We were the last to be seated and as we perused the menu the restaurant began to empty out. The sight and smell of food made me delirious and I found myself breaking out in lust as I read descriptions of sliced tomatoes, avocadoes, salmon and swordfish. We made our selections, ordered a bottle of Chianti and waited. The appetizers arrived first. Two tender half moons of avocado filled with tiny squares of mozzarella, dressed in basil leaves, sliced cherry tomatoes, spring green chunks of avocado, all dressed in olive oil and balsamic vinegar. It was exquisite. Soft and rich, the food melted in our mouths. I looked at Kirk and watched his eyes fill with tears. The waiter brought warm slices of pugliese, little plates of Sicilian olives covered in light green oil and sea salt. We dipped the warm crusted bread, ate the dark olives and drank our Chianti and began to laugh with a childlike pleasure at the taste of good food, the pleasure of hunger answered.

The salads arrived, crisp palms of endive covered in paper ribbons of parmesan cheese. Then plates of fresh green beans, crisp and sugary, pan-fired with toasted walnuts. Slowly, sacramentaly, we ate the green beans, now both of us silent, wiping tears from our faces. The smoky walnuts, the sweet green stems, it was like eating summer itself.

Then came the main course. Halibut grilled, covered in toasted fennel seeds. ribeye steak cooked in green peppercorns and olive oil. Warm summer vegetables, crook neck and zucchini. I remember my first taste of the fish she had prepared. It was like eating God, eating love, it was like tasting food for the first time. Through tears I said to my friend, “This is communion! No one can eat this and not feel one with God.”

The restaurant almost empty, emboldened by the wine, we began to cry out, “Madelana we worship you!” “Madelena, you are breaking our hearts!” “Madelena, you must come home with us!” We motherless men ate and drank and called to Madelena, our cook, our lover, our mother, the divine feminine incarnate. But Madelena, not unaware of her powers and the effect they had on men, ignored our cries of praise. She did not acknowledge us, nor the three or four men who lingered at her counter. Instead she stayed busy at her art, her large eyes attentive to her handiwork, her red lips even, without expression.

We ate and laughed and cried and shared our plates until Kirk pushed himself back from the table, and looked at me. I returned his smile, my senses awake, my heart alive, my head full of wonder. Kirk looked at me, and loved me, and called out into the half empty room, “More wine! More wine ! My friend is himself again. My friend has returned!”

I laughed, suddenly hearing the truth in his words. I had been lost, disconnected, stuck someplace within myself, outside of myself. Overwork, repressed feelings, overthinking, I had become detached, distant, stuck. But the movement of the river, the sun burning on my skin, the fasting from food, the smell of the woods, the throbbing music, the poetry of grief, the woman with ancient beauty, the culinary love-making, the care of a good friend had brought me home to myself.

Without thought, I stood upon my chair and called to Madelena. “Madelena you have healed me!” I raised my glass to her and she gave me a small smile and a quick nod.

The waiter returned with our check, we were now the only patrons left in the room. “But we’re still hungry,” I protested. “We’ve traveled far, the night is young, we’re not ready to leave.”

“I’m sorry,” he replied, “but the kitchen is closed.”

“That’s not possible,” I protested.

“Don’t you see,” Kirk interrupted. “We are two pilgrim souls. We alone can appreciate her gifts.”

The young waiter looked confused and embarrassed. “Let me talk to her.” We clinked our glasses and waited, in full confidence, that she could not turn away such devotion.

The waiter returned, “She wants to know what you want from her.”

“What we want?” I shouted, my heart now burning within. “We want her to feed us. We want everything! All of it! Until we are satisfied.” I stood and looked past the waiter, I looked at Madelena standing at the center of the room. “We want everything, the whole meal, repeated. The appetizers, the bread, the salads, the vegetables, the main courses, everything, everything, everything, all over again.”

At this my friend rose immediately to his feet. “Yes, yes! Exactly! Whatever the price! All of it!” We stood and watched and waited while Madelena studied us without expression. It was nearing eleven at night, the front door was locked, the tables had been cleared and set for the next day. We waited in confidence, with full hearts, with my desires returned and intact, we waited.

Then slowly, her face broke open, she looked at us, felt our hearts and smiled and said, “Sit down.”

“Hurray!” We shouted, like boys on a playground. We sat, our table was wiped clean, fresh napkins and silverware were placed in front of us, a new candle was lit and brought to our table, with new glassware, a fresh bottle of wine. We sat and we ate, slowly, gratefully, until long after midnight we ate and laughed and cried at the flavors and talked of past love, broken dreams, and sorrows. We ate and Kirk quoted poetry to Madelena, we drank and sang songs to Madelena. And later, as she ushered us out the front door, she kissed our cheeks goodnight and we walked across the street and found a room and slept the deep sleep of full-hearted men.

We slept until noon then awoke, refreshed, without hangovers or heaviness, and began the drive home. “Do you want breakfast?” Kirk asked. “Yes.” I told him, “I want pancakes and eggs, bacon, dark coffee and a beautiful waitress.”

“My friend is back.” Kirk smiled. And we headed for home.