Tag Archives: danbert nobacon

The Ashland Literary Arts Festival: You Know It Makes Sense.

It’s been a nuts summer around EAP World Headquarters, what with the sudden development of the (former) Ashland Literary Festival being turned over to us at the Southern Oregon Literary Alliance and Cascadia Publishers, transforming itself into the Ashland Literary Arts Festival. When the infrastructure was offered us by SOU’s Hannon Library, here in beautiful Ashland, of course we jumped at it. Whenever you get an offer of an infrastructure for a literary festival, well, you have to jump on it.

We started out saying it was going to be like that fairy tale, “Stone Soup”: We had a cauldron of boiling water with a big rock in it. Anybody got a carrot? Anybody got a head of garlic? Anybody got some noodles?

Just like in the fairy tale, next thing you know, everybody eats!

Seriously, it was pretty obvious that we here in the Pacific Northwest needed another meeting place for independent publishers, independent stories, and independent thought in general. So while we’re all scrambling to get into our places in time for the day–Saturday, October 28th, from 10 to 4 (and beyond), at the Hannon Library, on the Southern Oregon University campus in beautiful Ashland, Oregon–the day ahead is rich to bursting point with every conceivable literary ingredient. We’ve got workshops (Rethinking Schools! How to Make Your Own Podcast!) We’ve got stories (Southern Oregon! Hugo House in Seattle! Fantasy as Reality!) We’ve got poetry (Oregon’s poet laureate, the wonderful Elizabeth Woody! And poets galore!). We’ve got comics (EAP’s own Mike Madrid!). We’ve got literature (Too many to enumerate). We’ve got cooking (Jam Today and the wonderful Sarah Lemon of the Medford Mail Tribune will cook from a mystery bag of ingredients). We’ve got archaeology (Chelsea Rose!). We’ve got film (Alex Cox’s WALKER, sponsored by the Ashland Independent Film Festival, with a panel after…). We’ve got music (Danbert Nobacon of Chumbawamba plays from his latest album, and signs his EAP book on top of that).

As if that isn’t enough (I’m dizzy even thinking about it), the ever effervescent Laura Kimberly, of the Medford Public Library, has talked me into renting a karaoke machine for a Cosplay Karaoke Contest, followed by a Wonder Woman costume contest. I mean…I mean…

Phew.

Just to tie it in to this EAP: The Magazine issue: ALAF is going to welcome not just our own Mike Madrid, but the poet Charles S. Kraszewski, and David Horowitz, too. I was dying to get Bruce Thompson to bring his Dr. Faustus puppet show, and Ronnie Pontiac and Tamra Lucid to bring themselves, but next time. When we hope we have a budget. Wouldn’t it be nice to have a budget?

When you look at what we’re doing without one, well. With one, the sky is not even the limit.

Welcome back.

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Whirling Winter Words.

The Winter issue of EAP: The Magazine is up, and we had an avalanche of contributions this time. (Special thanks to Marissa Bell Toffoli, our ace poetry editor, for so graciously and competently working with all the poets who contacted us–and see her contribution, “Would, Will.”) What we particularly like is hearing from all the generations, from a grandfather (“It’s Da Shooz”) to a teenager (“On Epigrams: A Postive Note”) to nine year old Asia, whose tribute to BOOKS is one with which we heartily agree.

Deb Baker muses on the responsibility of a mother to explain to her children the value of words in WORK…we heartily agree with that, too…

Kelsey Liu continues to make us happy with her beautifully crafted stories from high school, in this case, a tale of aspirant parents treating their child like an entrant in a dog show: “The Koi Pond,” I bet there are a lot of young people out there who can relate.

There are so many great pieces in this issue, but there are two brand new contributors I have to call attention to here. Alexandra Kitty has conjured up the most enchanting, and effective, new detective we’ve seen since Victoria’s reign: Miss Magnus Lyme. She’s the Sherlock Holmes for the 21st century, or, rather, Sherlock’s older, smarter brother, Mycroft. Follow her special brand of clear sighted aid to those in distress in “Let Them Howl.”

And we’re tinkering over here with the idea of a new branch on the EAP tree: one made up of “How To” books that tend toward supporting “How To Take Control of Your Own Life.” (There’s a gardening book in the works, written by a poet…more on that soon….) This issue, EAP welcomes Matt Stone, who writes about nutrition, about eating, about the way you already know what to do without leaning on ‘expert’ knowledge that may be more about separating you from your money than your calories. Have a look at “Nutrition in Three Words,” and see what you think. Let us know, too.

Finally, two EAP authors are already busy working on new projects–we’re eagerly watching their progress–and we’re delighted to have a peek here. Anarchist fairy tale author and punk rocker Danbert Nobacon on “First Words.” And our favorite independent historian, Brian Griffith, from his new book on how animal stories interact with culture: “Using the Evil Word on Animals.”

Welcome back, All.

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EAP and the Beach Ball.

What a couple of months. When I look back at September and October, I have a vague impression of a large, highly inflated, multi colored beach ball, from which a variety of sounds (bells, laughter, clanking glasses, scraping chairs) emerges as it bounces up off my ceiling.

Something like that anyway.

3 Dead Princes: An Anarchist Fairy Tale, by Danbert Nobacon, illustrated (you already know all of this, I know, I know, but I’m so punchy I’ll just keep saying it again) by our own dear Alex Cox, and then E. E. King’s Dirk Quigby’s Guide to the Afterlife, all got pushed out of the production nest and took off on their respective flight paths. Dan in particular amazes one to watch how much he seems to really love getting up there and reading and singing and ventriloquizing (have you seen his Mr. Death puppet? I mean, how did he have the time?), but that’s a professional musician all over. Give them a night on a couch and a couple of beers and a plate of pasta, and they’re up again the next day, ready to do it all again.

We all converged on Portland for an EAP hour at Powell’s Hawthorne store, back at the start of October. I love Powell’s. Have I mentioned how much I love Powell’s? How much I love the store, and the website, and the Hawthorne branch, and, most of all, how I love all the various people who sail in the Powell’s brave ship of indie bookselling state? I mean, really love them. And why? Well, I just generally approve of Portland, which would be the only city I would move to in the US, if I could face living in a city. Because it’s the only city that still can afford a young, what we used to call bohemian, culture. Public transportation. Street life. Multi age population. Things going on that don’t cost a million dollars to dress for or attend.

And they read in Portland. There’s that, too. When I read all those articles about how reading is dead, I just shrug–oh yeah, right. You know, what I think is that serious reading will never be a mass market activity. How could it be? It’s got its own limits, just based on what it is. But there will always be the same proportion of the population picking up and loving books, loving ideas no matter what the platform, come to think of it, and wanting to spend its time playing with them, batting them around, peering at them after they’ve batted them around, and just generally, well, loving them. Always. There always has been and there always will be.

Anyway, when I see Powell’s people like Gerry Donaghy, and then Scott Mahoud (who told me how he goes bike riding with his eight  year old granddaughter three times a week—she lives down the street—and I thought, ‘lucky, lucky granddaughter’), and Jill Owens who worries about literature and okra (two subjects I am particularly interested in myself), I can’t help but feel heartened about the state of the polity.  I did get to see them at Wordstock, the Portland book fair, where EAP had its first booth (next door to Chin Music Press, and their fraternal display also of another great Consortium press, Two Dollar Radio), and that was a blast, although I did get so I couldn’t say ONE MORE WORD, which was a shame, really, because at the end of the day, Alex and I went to KBOO Community Radio (they’re pretty great too), and he gave an interview about his movies for an hour with both of us getting so hungry and tongue tied we were both about to explode, so that I had to get up after one glass of wine with all the guys at KBOO and apologize for both of us and just flee into the night to a peaceful dinner where I think the highpoint of the conjugal conversation was ‘damn this is good beer,’ (Alex) and ‘I will never be able to make this good a blue cheese and bacon salad at home,’ (me). Really, that was as much as we could say at that point. But it had been a good day.

Alex, partly to please me, and partly to amuse himself, shot footage of Danbert and EEK and Wordstock, and of me, too, and you can see the resulting videos of Danbert Nobacon Talks About 3 Dead Princes, and E. E. King Engages With Dirk Quigby’s Guide to the Afterlife if you click in the appropriate places. Check out Mr. Death.

As for me, I’m going to get that beach ball down from the ceiling, knock it around the room for awhile, and get back to work. There is hoeing and mulching and sowing to be done in the EAP Garden. SNOTTY SAVES THE DAY, our Spring book to get out! The Fall 2011 books to get down to editing! David Marin’s book THIS IS US to get into! Brian Griffith’s CHINESE GODDESSES! The Consortium November sales conference! Our first audio download of THE SUPERGIRLS! Not to mention performing my role of Good Wife with Alex as he does the rounds first with STRAIGHT TO HELL RETURNS, his film coming out November, on DVD with  San Francisco’s Microcinema, then with the next five films in the series. (If you’re near the Roxie Theater in SF on Halloween, come on by and say hello. And then the Rafael Film Center in San Rafael on All Saint’s Day.)

I’ll get back down to work, but after a nice glass of red wine by one of the first fires of the season. It’s just turned cold, and the leaves are red and gold and green, and there’s nothing like a brisk walk in the woods, followed by
aforementioned wine, followed by a nice roasted vegetable dinner, followed by reading (which is why I never can imagine reading going out of style—not in our house anyway), followed by sleep, followed by tea, followed by back to work all over again.

Not a bad itinerary actually. There goes that beach ball…

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Galloping Across the Plains…

Here at Exterminating Angel Press we’re taking deep breaths at the start of each new day, which is just as well since we’re about to head into the semi annual hell for leather gallop across the plains that is the launch of any new books. Two should arrive in the bookstores any day now–in fact, E. E. King’s DIRK QUIGBY’S GUIDE TO THE AFTERLIFE (the only book in history, as we continually say around here, to have cover blurbs from Ray Bradbury AND Margaret Cho) is probably already there on the shelves.

Then comes Danbert Nobacon’s 3 DEAD PRINCES: An Anarchist Fairy Tale, illustrated by our own dear in-house filmmaker/vegeterian husband Alex Cox (and yes, that suit of armor Queen Gwynmerelda puts on before the  Battle of Bald River Falls, is indeed based on an outfit in my own wardrobe, though I don’t wear it outside the house much…). The cover blurbs on this book are hilarious, too–and our lovely distributor informs me that, once again, we have made blurb history by publishing the only book that’s ever gone through their warehouse with a cover quote from Iggy Pop.

Danbert’s got a new album coming out at the same time as the book–WOEBEGONE–and he’ll be touring with both. We’re kicking it off with an evening at his home brew pub in Twisp,Washington, and judging from the last evening I spent at his home brew pub in Twisp, Washington, it ought to be a raucous, multi age blast. Not to mention the local organic red wine I STILL vividly remember and am looking forward to meeting again…

Then E. E. King (she goes by EEK around here) and Danbert show up in Los Angeles, then San Francisco...then we’re all together in Portland, at Powell’s Hawthorne store, on Monday, October 4, at 7:30 pm…all of us: Dan, EEK, Alex, and me (also the dogs, but they’ll be in the car). So if you’re around…or if you’re around for the Wordstock book festival the following weekend at the Portland Convention Center, drop by our booth. We’ll all be hanging around the booth, along with our new ace intern, Alison Week.

Okay, okay, I know I said I would never have an intern again–not because they aren’t lovely, charming, intelligent, and punctual, but because training someone takes a lot of time, and who has any time these days? And then they go away, and it was all for naught. But Alison asked very nicely, and promised faithfully to either make my life easier or to move on, and by God, she IS making my life easier by coordinating all the events for EEK and Dan.

In fact, she made my life so much easier, that I was tempted by another flurry of emails from another young woman looking to intern in publishing, too. So welcome Amber Garner, who is presently wrestling with the Satan that is our website content management system. I’m looking forward to seeing who wins. If it’s her, you’ll hear more about her later. (So far it’s AMBER 2, CONTENT MANAGEMENT SYSTEM 0–congratulations, Amber. Now just don’t get cocky.)

The main thing that gives me hope about these interns (and indeed pushed me over the edge into taking them on, even though I’d sworn etc etc etc) is that they are young, intelligent women who want to get into publishing. You may not know this, but a few years ago, all the talk was of how the publishing business was aging rapidly with no one young coming in. And now, everywhere you look, a vibrant, enthusiastic, above all, book-loving new generation is moving full speed ahead.  It’s kind of fun watching two of them. Actually, it’s a lot of fun. And I really do feel we owe that generation a whole lot for our having eviscerated the economy and left it lying for dead just as they are setting out on life. We owe to them to teach them whatever tricks we have learned for surviving and thriving, and getting on without giving up your ideals for dead, too.

So whatever I can do of that, I’m happy to do. Well, we’ll see.

Meanwhile, we’ve found the perfect name for David Marin’s memoir of adopting three minority kids under the age of nine: THIS IS US (in stores September 2011, oh yeah, you think that’s too far ahead for me to mention, but just watch the months scream by…). David came up with that one, and I must say, it’s just the right fit. Now for the subtitle Mike’s having a great time turning the design for it over in his head. And we all met this weekend, for the first time, in Golden Gate Park, around the merry go round in the Children’s Playground. Ace intern Alison Week just happened to be in town, so she dropped by too. And ace intern Amber Garner stayed home and fixed our events page.

So maybe this whole intern thing is going to work out…

And if you’re around in LA, San Francisco, Portland, Seattle, Salt Lake City, Taos, Santa Fe, Chicago, St. Louis, Philadelphia, and/or Brooklyn…and you want to meet some terrific writers, and (in Danbert’s case) hear some terrific music, check our Events listing, and our Facebook page…and see if Amber has bested the Internet, at least three out of five, and gotten up all the significant details.

See you in a couple of months.  Oh my god, in a couple of months we’re on to galloping toward the SPRING 2011 season…here it comes…heading right for us…

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When We Last Left EAP…

It was a dramatic two months here at EAP. The Consortium sales conference in May, where I presented EAP’s two books for October (Danbert Nobacon’s 3 DEAD PRINCES, with illustrations by EAP’s own Beloved Vegetarian Husband, Alex Cox), and E. E. King’s DIRK QUIGBY’S GUIDE TO THE AFTERLIFE. The sales reps had made the whole trip easy for me by having, through their efforts, made another Consortium book, TINKERS, a Pulitzer prize winner, which meant, happily, that the very pleasant Greg Cowles of the New York Times had a moment to spare to talk about EAP books…he doesn’t know it, but he’s in for being taken out for a glass of something soon, one of my favorite ways of attempting to influence the media.  And I finally met Maggie Ruggiero, formerly of GOURMET magazine, who I contacted after noticing whenever I cut out a recipe of that mag, it was one of hers. I sent her JAM TODAY, and she emailed back, and now I am the proud owner of one of her handmade sex scandal tea towels (you can ask, but it’s hard to explain without illustrations), and the happy memory of sitting with her after dinner on the High Line watching the traffic go uptown.

And galleys for DIRK and 3 DEAD PRINCES, and sending out review copies, and getting ready for the ALA conference (which by the time this appears I will have been to and back)…

And signing three contracts for three more books. Brian Griffith on Chinese goddesses, and Lorenzo O’Brien, that anarchic film producer, on BEING a film producer: “HARD TO KILL: My Life as an International Film Producer”…which HE wants to call “My Life Becoming a Human Cockroach,” which gives you a pretty clear idea of the content. That one started with his calling my own dear husband  to share a day in his recent life, a day which included being fired twice by a coke addled boss, and then hired back when it was clear no one else had a clue about the admin on the film.  And Lorenzo said, “How did I GET here?” And I said, “Well, there’s a book.” And he said, “I’ll write it! But most of the stuff in it will probably be libelous.” And I said, “We’ll worry about that later, then, shall we?”

He’s sent me the first two chapters, and they are, indeed, delightfully, hilariously libelous. So it’s a good thing EAP has a very nice publishing lawyer up there in Portland (hi, Amy! work coming your way soon!). As well as for the fact that we’re deep in talks to publish a little something about Walt Disney in 2013, which, unless things have changed radically in the world before then, should bring down on us the full weight of the Disney legal apparat.  A sympathetic lawyer I’ve already consulted about THAT one says that legal scholars in the US think Disney is getting just too damn uppity and too damn bullying about its alleged rights, and so the time may be coming for a tiny David to at least tweak the toe of the Goliath. We’ll see.

But I think the most exciting EAP event was getting  David Marin’s query and manuscript over the virtual transom last month. Queries we get tend to fall into one of two categories: books their authors are sending out to EVERYONE in the hope that someone bites, and books that are coming from the same values as EAP, but we don’t think, for whatever reason, we can publish.  The first get a polite email suggesting another publisher, and the second get an invitation to fool around on the website and see what happens next. (DIRK QUIGBY was one of these latter, in fact.)

I don’t think it has happened before that I got a manuscript that was, out of the blue, so perfectly EAP and so just what I was looking for, that I rubbed m my eyes and wondered if it was a joke. Or an instance of severe self deception.

But so it was with David’s manuscript.

At first I groaned when I got the email.  Subject heading: “Query: Multi cultural non fiction.” And the accompanying note: “In 2005 I became the only single Caucasian male in the United States to adopt three minority siblings – all abandoned by fieldworkers and felons in Santa Barbara County. Tempest-Tost To Me is our story. The title is from the Statue of Liberty inscription. Topics include illegal immigration, multi-racial adoption, and parenting. The manuscript has 75,000 words.” First of all, the politically correct nature of it all made me automatically suspicious. More PARADE magazine and looking to be on Oprah than EAP, I thought. I had an immediate vision of a saccharine line of self promotion, of children being trotted out like trick ponies to promote the author’s work under the name of do-gooding–a vision I can only greet with a profound shudder. In short, I thought this was one of those: just give a quick read to the prologue and first chapter, then a polite email back suggesting a bigger publisher.

Then I started reading. Then I was in tears by the second chapter. No, this was not what I had thought. This was the real, true thing: a writer who had an idea he passionately wanted to get across. And I very much doubted the guy who had written even what little I’d read so far was interested in exploiting his own children.

What came through most was the real, fierce feeling here. This single guy adopted three maltreated kids, and fell absolutely in love with them. You could tell he was in love with them in every line. Needless to say, since he WAS the only single Caucasian male etc. the road to adoption was not an easy one. And his outrage that these children were treated as anything but individual, important souls came through clearly to me, too.

So I emailed cautiously back.  Are you sure you know who you’re sending this to? We’re a very small outfit, only in our second year…

Oh yes, he emailed back. I know who you are. I found you on the Consortium website.

Still cautious, but thawing fast, I emailed:

“David–Read the manuscript and thoroughly enjoyed it–especially the individual personalities of the three kids.  Now the main question I’m going to ask you  is: What is the most important thing to you about this manuscript? What do you think it’s really about, what idea were you most trying to get across?

Just to make sure that what interests me most harmonizes with what interests you.  And what interests me (and makes it an EAP book) is that the entire story contradicts the dominant cultural story that only moms are nurturers, that dads somehow are emotionally less connected, less loving, less empathetic.  I mean, unless they’re gay, so goes the dominant cultural story…and that just cuts half the population off from their ability to feel in the way that is most satisfying to a human being. What’s most important in your manuscript is Love, of course.

So that’s what interests me. All the editing I’d suggest (and do) would go to making that point clear…and to bringing out your own voice as clearly as possible…another EAP thing is that while all EAP books have to be literate, even literary, they need to be written in a clear, informal voice, like the reader is having a conversation with the writer.

This has just what I look for in a certain kind of book–the ability to appeal to a wider group of people and get ideas across to them that they probably wouldn’t accept in the abstract (for one thing, the irrationality of the xenophobia)…I have this belief that the American audience is irrational but warm hearted, and if you can touch their hearts, you can change their Fox News default settings.”

And David emailed back:

“Well, Tod, you wrote what I want the book to be about better than I could! I appreciate that.

Yes to parenting gender. It’s packed with issues. For one, if as many single men adopted (it’s 1% now) as single women (33%) foster homes would be nearly empty. Second, the whole lawsuit fiasco shows that it’s not just women who face discrimination in the work place.

And yes to Fox News.  There are people out there right now advocating that children of “illegals” be stripped of their US citizenship. That would be my children.

A third part that’s important to me are the struggles people have with social services. The system is broken, and slower than flowing concrete when it’s working. I want social workers, and social work students, administrators, and educators to see another side.

Last, even though you’d like to feature more of my voice in the book (and I’m okay with that), the heroes are my children and their older sister. I’d like to bring that out even more if I can.”

Yes. So the contract went out, was discussed and signed, and I asked David to write a little bit more about why he decided to adopt even one child, let alone three. That piece is in this month’s issue of EAP. That, I thought, would be the start of a long, fruitful (we hope) back and forth before the manuscript is ready to be published. Some things will get developed more fully, some things will get thrown out. It’s always fun to see that process.

The first thing that went, of course, was the title “Tempest Tost.” Pretty title, but too much like a Robertson Davies novel, or a study on Shakespeare’s later plays. We’re looking for something simpler–in fact, David, in his piece this month, asks readers to make suggestions. In my own head, I call it what I called his piece: Why I Adopted Three Kids. But we’ll see where it ends up…

More later. By the next blog, we’ll be at the release date for 3 DEAD PRINCES and DIRK QUIGBY’S GUIDE TO THE AFTERLIFE, and everything will have, doubtless, taken yet another turn…

Stay tuned. I know I will.

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My Kind of Revolution

Mat Capper, EAP’s special correspondent from Liverpool, reminded me the other day about the first time we met.  It was in Sefton Park, in Toxteth, in Liverpool, on the set of REVENGERS TRAGEDY.  I was producing the film, and he was acting in it.

The scene that day was a marquee in an open field, where a wedding takes place.  The bad guys invade the tent, kill the guests, and proceed to steal their money.  Mat played one of the bad guys. The guests were all extras, recruited from who knew where…just people who wanted a laugh, or people who knew one of us, or people passing by…that kind of thing.  All Liverpudlians.  Scousers, as they’re otherwise known.

Some minor prop error had occurred, and we discovered we didn’t have the play money needed for the robbery.  Heads went together.  No problem–Lucy, our excellent production accountant, was there with the cash to pay the day players. ?3000 is what I remember, then about $6000.  Without much more ado, we scattered the real cash all over the extras playing dead, and shot the scene.  Collected the cash, went on with the day, and didn’t think much more about it.

Until I had to listen to the horrified cries of outsiders, .  “You did WHAT? Where?  In TOXTETH?  One of the worst neighborhoods in Europe?  Don’t you know about Scousers?  They would’ve stolen you blind!”

Only they didn’t.  We didn’t lose one ten pound note.  It hadn’t occurred to us we’d lose one ten pound note.  And you know why?  Because everyone there was having fun, they were all essential elements to the film, everyone was being creative together.  There isn’t much more fun you can have in this world short of having sex with a loved one.  Which is another form of creative group activity, come to think of it.

I thought about that this week, when Alex and I were on a road trip together, sharing the car (we brought the dogs for fun) so I could go to San Francisco to spend the day finalizing design for the first two EAP books, and he could show the rough cut of REPO CHICK to a roomful of technicians who are going to do the effects.

The EAP designer and I had a blast.  It was (and is) a ton of work. But there’s a big difference between the kind of work you do because you’ve got a creative and practical goal, and the kind you do because you think you have to, for whatever reason.  We got through everything we had to do, and I suggested we hop over to Berkeley and watch Al’s screening.  (On the way over, on BART, we designed the EAP catalog. That was fun, too.)

The screening was at Phil Tippett’s place.  Phil Tippett Studios, you may or may not know, is one of the most highly regarded special effects joints on the planet.  They do a lot of the high end studio special effects.  And they wanted to do REPO CHICK, outside of normal working hours, for just about zero money–just for fun.

So this was after hours.  All thirty or so people sitting in the room rigged up for a screening had finished their work-for-pay for the day.   The mood was festive and alive; when Mike and I got there, we discovered my dogs had been given the run of the facility (along with a surfeit of corn chips).  There was pizza and beer.  We sat down and watched the film; a discussion followed of what had to be done.  Phil stood up and warned his crew that it was a lot of work, and that they had to remember about their day jobs.  Everyone greeted this news cheerfully and went back to discussing REPO CHICK.

Later that night, sitting over a cup of chamomile tea, Phil said, “This reminds everyone of why we got into all of this in the first place.  Everyone’s always asking me what it was like back in the day when you worked with creative people just for creative reasons, and not all the time for money.  And this is it.  We need this; it reenergizes everybody.”

When Alex and I talked it over on the drive home, we laughed about the reason why the dominant culture drives it into all of us that to do something for fun is childish, not serious, not worth anything culturally.  That’s because if everyone indeed acted as if the purpose of human endeavor was joy rather than gritting your teeth misery in order to collect some cash, some dominance, some prestige, the whole economic house of cards would just come down.  And the Great and Terrifying Wizard of Oz would be revealed for the shamefaced snake oil salesman he has been all along.

(And if you want to read something by someone who has spent a lifetime working for joy, read Danbert Nobacon’s PERFORMANCE AND EVOLUTION? in this month’s EAP. It makes you want to get out and start your own rock and roll band. What is it with these guys up North?)

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