Known around the world for carrying the best in roots music (and world music) – and rootsy world music.
While you can always order my rock ‘n’ roll novel, “True Love Scars,” from any physical book store, I’m thrilled to have the book carried and in stock at one of my favorite record stories, the irreplaceable Down Home Music, located in the down home capital of the world, El Cerrito California.
El Cerrito, which is located between Berkeley and Richmond, has a reputation for great music.
Both Down Home Music and Arhoolie have been based in El Cerrito for decades.
Arhoolie was founded in El Cerrito in 1960, when the late Chris Strachwitz released Mance Lipscomb’s Texas Sharecropper and Songster.
Down Home Music, Strachwitz’s record store, has been at 10341 San Pablo Avenue in El Cerrito since 1976, and the folks there can be reached by phone at (510) 525-4827. The store is open each week Thursday through Sunday, from 11 am – 7 pm.
Also worth noting: the great John Fogerty grew up in El Cerrito, which is where Creedence Clearwater Revival formed and were based during their ’60s and early ’70s heyday.
Les Blank, the award-winning filmmaker who made many important music documentaries including “The Blues Accordin’ to Lightnin’ Hopkins, lived in El Cerrito. Bob Dylan thinks enough of Les Blank that he has included “The Blues Accordin’ To Lightnin’ Hopkins” as the only film recommended on his website.
The excellent community world music radio station, KECG, which is based in El Cerrito, can be listened to here.
And James Brown, of course, played in nearby Richmond in the ’60s.
Mary Gaitskill will appear on a panel at Festival Albertine.
The culture critic (and Bob Dylan expert) Greil Marcus has organized a stunning French-American “intellectual exchange” in the form of the six-day Festival Albertine which will take place from October 14 through October 19, 2014, at the new Albertine bookshop in New York.
All of the panels will be videotaped and made available online via the bookstore’s website, http://www.albertine.com, after the festival so that those who cannot attend can see them.
Marcus has always moved smoothly through highbrow and popular culture, and the festival reflects that. Novelists and graphic novelists, movie directors and TV show auteurs, economics professors and fashion designers, French and American historians and rock, book and film critics will take part in the festival.
Novelist Percival Everett, author of “Erasure.”
The lineup for the six evenings includes: Novelists Mary Gaitskill (“Two Girls, Fat and Thin”) and Percival Everett (“Erasure”), director Olivier Assayas (“Après- Mai”), Joseph Stiglitz (“Freefall: America, Free Markets and the Sinking of the World Economy”), Marjane Satrapi (“Persepolis”), the mathematician John Nash, TV show creators Alexandra Clert (“Engrenages”) and Matthew Weiner (“Mad Men”), historians Françoise Mélonio and Arthur Goldhammer and others.
For info about specific panels and the schedule, head over to the Albertine website.
Although there is no panel devoted directly to rock music, a number of the panelists are or have been immersed in the music. In addition to Marcus, there is former New York Times chief rock critic John Rockwell, former Newsweek pop critic James Miller, “Streets of Fire” screenwriter Larry Gross, and Mary Davis (author of “Classic Chic: Music, Fashion and Modernism”).
Marjane Satrapi, the creator of “Persepolis.”
Albertine opened its doors yesterday (September 27, 2014). The book store and the festival, named after Proust’s muse, Albertine, are the brainchild of French diplomat Antonin Baudry, cultural counselor of the French Embassy in the United States, and, using the pen name Abel Lanzac, co-author of the graphic novel “Quai d’Orsay.”
In an essay that explains why the need for Albertine, Baudry wrote:
“Her naissance is important because so many books were missing in New York, the very heart of the world, before she arrived. Her presence will matter because there are essential ideas to uncover and crucial debates to be had between the old Continent and the new. In the 21st Century, without considering perspectives from near and far, should we be so confident in our definitions of good, evil, beauty; fairness on the battlefield, justice; a good society, a good life, or even literature?
“One can answer each of these questions on his or her own, but to collectively attack them and examine each of their nuances—and from points of view illuminated by the insight of foreign lights—will lead us further. The world is in rapid flux. As new powers emerge or re-emerge on the political, economic and intellectual realms, their presence inspires us to reinforce deep existing friendships. For friendship is always more valuable, precious and rare in complex and dangerous times than during periods of calm and certainty.”
The book store currently contains 14,000 books including, according to the Albertine website, “contemporary and classic titles from 30 French-speaking countries in genres including novels, non-fiction, art, comic, or children’s books.” Visitors are welcome to find a comfortable chair and read any of them.
To get the French-American debate — what he calls the “French-American intellectual exchange” — underway, Baudry decided to kick things off with a festival and enlisted Marcus to curate the week-long event.
“Antonin read [Marcus’ landmark books] ‘The Shape of Things to Come’– as ‘L’Amerique et ses prophètes,’ the French title — and ‘Lipstick Traces,'” Marcus said when asked how he came to curate the festival. “I’d never been asked to do something like it, unless you count co-editing ‘A New Literary History of America.'”
Olivier Assayas, director of Après- Mai.
In his essay explaining the need for the bookstore and festival, Baudry detailed why he chose Greil Marcus to curate it:
Our first question was, Who should curate and shape this debate? We made two decisions concerning this choice—decisions that mirror the entire vision of the Albertine experience. Firstly, the curator must be an American, and secondly, it must be Greil Marcus. Why an American—and not a French person—to curate a French festival at the French Embassy? Because that is the essence of a true dialogue. For Festival Albertine’s to be fruitful in America, speakers must be selected by American ears, eyes and intelligence. And these ears, eyes and this intelligence had to be Greil’s.
Greil Marcus’ masterful work defines him as one of the most relevant and stimulating living thinkers of America. Greil touches the foundational issues of society. Along with many of his books, The Shape of Things to Come: Prophecy and the American Voice addresses questions and issues so fundamental
to America that it perfectly sets the stage for deep analysis of our cultures in comparison. Greil’s texts deliver the intellectual keys to unlock channels of transatlantic dialogue, discussion, and compelling debate.
Moreover, Greil is the founder of a true analytic method. He offers both a broader and more precise conception of history in Lipstick Traces when he writes, “and what is history, anyway? Is history simply a matter of events that leave behind those things that can be weighed and measured – new institutions, new maps, new rulers, new winners and losers–or is it also the result of moments that seem to leave nothing behind, nothing but the mystery of spectral connections between people long separated by place and time, but somehow speaking the same language?”
The bookstore is located in the French embassy. At http://www.albertine.com is this history of the historic building:
Albertine is housed in the official landmark Payne Whitney mansion in Manhattan. In 1902, former Standard Oil Company treasurer Oliver Hazard Payne commissioned the Italian Renaissance mansion as a wedding gift to his nephew Payne Whitney. Between 1902 and 1906, Stanford White, the famed architect of the Washington Square Arch, designed and oversaw construction of the mansion. Since 1952, the mansion has housed the Cultural Services of the French Embassy. The bookshop within the mansion was born in 2014, and its interiors were created by celebrated French designer Jacques Garcia (Chateau du Champ de Bataille in Normandy, France and The NoMad Hotel in New York City)… in the model of a grand private French library. The two-floor space includes a reading room and inviting nooks furnished with lush sofas and armchairs.
I asked Marcus what ten books he would suggest someone planning to attend the festival or watch the videos should read.
The list:
Olivier Assayas, “A Post-May Adolescence”
Joseph Stiglitz, “Freefall: America, Free Markets and the Sinking of the World Economy”
James Miller, “The Passion of Michel Foucault”
May Davis, “Classic Chic: Music, Fashion and Modernism”
Marjane Satrapi, “Persepolis”
Antonin Baudry aka Abel Lanzac, “Weapons of Mass Diplomacy”
Emmanuel Carrère, “The Moustache” and “Limonov”
Mary Gaitskill, “Two Girls, Fat and Thin”
Percival Everett, “Erasure”
—
[Note: I just published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in the new issue. Read it here. There’s info about True Love Scars here.]
[I just published True Love Scars.” Rolling Stone has a great review of my book in the new issue. Read it here. There’s info about True Love Scars here.]
The second annual Wilko Johnson Writing Award contest is currently open for business.
If you’re 25 or younger and write about music, you’ve got until midnight, Friday October 17, 2014, to submit your entry, a 350-word essay addressing this question:
“’The charts are dead!’: Is the Top 40 still relevant in 2014?”
The contest, which is part of the Louder Than Words literary festival, is named after the acclaimed British guitarist Wilko Johnson, best known as a member of Dr. Feelgood in the ‘70s; early this year Johnson’s collaboration with Roger Daltry of The Who, Going Back Home, charted at No. 3 in the U.K.
“It’s named after Johnson because it is a competition for young writers and Wilko Johnson was a teacher – he has an English degree from Newcastle Univeristy,” explained Louder Than Words co-curator, Simon Warner, author of “Text and Drugs and Rock’n’Roll: The Beats and Rock Culture.”
“In addition, he [Johnson] is a capable and committed wordsmith in his own right,” Warner said. “Beyond that, too, he is a respected, avid and obsessive reader – appreciationg words associated with music and in books and journalism, national and international.”
The winner will be chosen by a “panel of high calibre judges drawn from related industries – writing, the academy, the music business,” Warner said.
The winner will be announced on Wednesday, November 5, 2014 and the award will be presented at the festival on Sunday, November 16, 2014.
The winner will receive: a full weekend festival pass, a complete set of 100 titles from Bloomsbury’s 33 1/3 album series, and will be published on the Rock’s Back Pages website.
Louder Than Words will take place November 14-16, 2014 at The Palace hotel in Manchester, England.
As described on the Louder Than Words website, the festival includes “’in conversation with’ sessions, panel discussions, interviews, workshops, performances and casual opportunities for engaging with performaners, authors, editors, publicists, reviewers, press, artists and aficionados.”
[I just published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in the new issue. Read it here. There’s info about True Love Scars here.]
“True Love Scars” rises to #18 on the Amazon Bestselling Literary Satire chart.
Fantastic review by Simon Warner, author of “Text and Drugs and Rock’n’Roll: The Beats and Rock Culture.”
TRUE LOVE SCARS
Michael Goldberg (Neumu Press)
Review by Simon Warner
The great rock novel? The pursuit of that ultimate piece of fiction that distils the primal energy, the ecstatic power, the neurotic craziness, of popular music has been something of a holy grail in recent decades and, in True Love Scars – a deeply ironic nod to Buddy Holly’s ‘True Love Ways’ – one-time Rolling Stone journalist Michael Goldberg is the latest contender for this Lonsdale Belt of rock‘n’roll writing.
His protagonist Michael Stein is a Californian teenager in the later 1960s, tangled to distraction in the sound and image of his hero Bob Dylan, a paradoxical blend of cocksure kid and deluded hipster, bruising his fragile ego in the choppy shallows of high school romance, then sabotaging his increasingly complicated love tangles in a haze of drug indulgence and casual disloyalty, and all to a backbeat of Highway 61 Revisited, the Stones and the Doors.
It’s the story of a disaffected geek and self-imagined king of cool who turns out to be much more naïve nerd, as his promising upward trajectory hurtles into reverse. But True Love Scars, the first part of Goldberg’s ‘Freak Scene Dream Trilogy’, is as much about style – the way he tells the tale – as it is about content. Penned in a staccato amphetamine grammar, its narrative is fractured and deranged, often unsettling but frequently compelling, an unsparing portrait of the teen condition: assured then despairing, would-be sex god then impotent has-been, from erection to dejection, an only child battling the wills of his domineering father and interfering mom in the anonymous, suburban fringes of Marin County.
Goldberg’s work recalls a number of those post-war stylists who have tried to capture the uncertainties of adolescence into adulthood, the lure of escape and the quest for forbidden fruit. It has elements of Salinger’s Holden Caulfield, a flavour of Richard Fariña and his smart college satire Been Down So Long It Seems Like Up to Me, and more than a dash of that frenetic gonzo gabble that Hunter S. Thompson utilised to frame the madness of the modern world as the American dream unravelled, around the very time that Stein is doing his incompetent best to grow up. The great rock novel? Perhaps we still await it but, for sure, this writer has made a creditworthy tilt at this literary crown, and produced a very good one.
Simon Warner is the author of Text and Drugs and Rock’n’Roll: The Beats and Rock Culture. He’s a lecturer, Popular Music Studies, School of Music, University of Leeds, Leeds, United Kingdom
[I just published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in the new issue. Read it here. There’s info about True Love Scars here.]
In a review of my novel, True Love Scars, in the new Rolling Stone (Taylor Swift on the cover), reviewer Colin Fleming compares me to Lester Bangs!
Too much!
Here’s the review:
Getting Lost in the ‘Real’ Sixties
A veteran rock writer explores the crazy side of Sixties nostalgia
True Love Scars
Michael Goldberg Neumu
If Lester Bangs had ever published a novel, it might have read something like this frothing debut by longtime music journalist Michael Goldberg. (It’s part one of a series called The Freak Scene Dream Trilogy.)
The year is 1972, and the book’s chatterbox narrator, 19-year-old Michael Stein, is the kind of Sixties-besotted college kid who shaves his hair off because John Lennon and Yoko Ono did it. His quandary: trying to figure out how to reclaim the “authentic real” spirit of the 1960s as the decade fades into memory. Stein spends most of the book flashing back to one sex-and-drugs-steeped Sixties misadventure after another.
If you’ve ever obsessed over bootlegs or argued with your friends late into the night about which Beatles or Bob Dylan album is the best, True Love Scars will hit home.
Goldberg’s style recalls the rush of the earliest rock criticism. He was a senior writer at ROLLING STONE during the Eighties, and he founded Addicted to Noise, an important online music publication, in 1994. His intimacy with the classic records Stein fetishizes comes through again and again. Yet, unlike his protagonist, Goldberg doesn’t idealize the Sixties. Instead, he’s fascinated by the ways in which we crave authenticity.
Readers from any musical era will come away with a deeper appreciation of how nostalgia can shape our lives, for better and for worse. COLIN FLEMING
The Flamin’ Groovies ’70s classic, “Shake Some Action,” is one of the ten songs Greil Marcus writes about in his new book. Pictured is the cover of an early ”90s single by the group.
Ten songs that shook the world!
By Michael Goldberg
I’ve learned quite a few things from the critic and cultural historian Greil Marcus over the years, but maybe the first – and the one I keep coming back to — is that when listening to music, the artist’s intention isn’t so important. What really matters is what you and I, as listeners, hear.
You know, what we get from the music.
“I was never interested in figuring out what the songs meant,” Marcus wrote in the prologue to his book, “Bob Dylan, Writings 1968 – 2010.” “I was interested in figuring out my response to them, and other people’s responses. I wanted to get closer to the music than I could by listening to it – I wanted to get inside of it, behind it, and writing about it, through it, inside of it, behind it was my way of doing that.”
Marcus has been sharing his response to the music since the late ‘60s. In “Mystery Train” and “Lipstick Traces,” “The Old, Weird America: The World Of Bob Dylan’s Basement Tapes” and other books he uses art as a doorway, and steps through it to find vast secret histories, histories of America and Europe that mostly hadn’t made it into the history books – at least not in the way Marcus writes.
After reading “Lipstick Traces,” which starts with Johnny Rotten and then proceeds to spin into a history of anarchistic rebellion going back long before Johnny Rotten was born – I haven’t been able to listen to a Sex Pistols or Public Image Ltd. song without thinking of Dada and the Situationists and the May ’68 protests in France and so many other things that Marcus wrote about in that book.
This new one, “The History of Rock ‘n’ Roll in Ten Songs” (Yale University Press, 320 pages), is all about what Marcus hears when he listens to ten songs, and what he hears is unexpected and sometimes revelatory. It’s not any kind of history of rock that you or I have ever read before, because Marcus sees no point in revisiting the same old story that we’ve read numerous versions of since the ‘60s.
“Shake Some Action” is one of ten songs Marcus writes about in the book.
One of the big ideas in the book is that the chronological history of rock ‘n’ roll – that blues and country begat Chuck Berry and Elvis begat Dylan and the Beatles and so on and so on, is, if not irrelevant, beside the point. Or if not beside the point, well, we’ve been there. We all know, or think we know, the contours of that story. Marcus has a different story to tell.
“Whole intellectual industries are devoted to proving that there is nothing new under the sun, that everything comes from something else – and to such a degree that one can never tell when one thing turns into something else,” Marcus writes in the introduction to his book. “But it is the moment when something appears as if out of nowhere, when a work of art carries within itself the thrill of invention, or discovery, that is worth listening for. It’s that moment when a song or a performance is its own manifesto, issuing its own demands on life in its own, new language – which though the charge of novelty is its essence, is immediately grasped by any number of people who will swear they never heard anything like it before – that speaks. In rock ‘n’ roll, this is a moment that, in historical time, is repeated again and again, until, as culture, it defines the art itself.”
He continues:
“’It’s like saying, “Get all the pop music, put it into a cartridge, put the cap on it and fire the gun,’ Pete Townshend of the Who said in 1968. ‘Whether those ten or 15 numbers sound roughly the same. You don’t care what period they were written in, what they’re all about. It’s the bloody explosion that they create when you let the gun off. It’s the event. That’s what rock and roll is.’ Any pop record made at any time can contain Pete Townshend’s argument. … which is to say that this book could have comprised solely records issued by the Sun label in Memphis in the 1950s, only records made by female punk bands in the 1990s, or nothing but soul records made in Detroit, Memphis, New York City, San Antonio, New Orleans, Los Angeles and Chicago in 1963.”
And more:
“From that perspective, there is no reason to be responsible to chronology, to account for all the innovation, to follow the supposed progression of the form. The Maytals’ ‘Funky Kingston’ is not a step forward from the Drifters’ ‘Money Honey,’ or Outkast’s ‘Hey Ya’ a step forward from ‘Funky Kingston.’ They are rediscoveries of a certain spirit, a leap into style, a step out of time. One can dive into a vault as filled with songs as Uncle Scrooge’s was filled with money and come out with a few prizes that at once raise the question of what rock ‘n’ roll is and answer it.”
I’ve been reading reviews and books by Marcus since the late ‘60s, and he’s dead serious about what he puts on the page. And about what he discovers when he listens to and then writes about rock ‘n’ roll. This is serious stuff, life or death, and if you think music is nothing more than entertainment, well this book is probably not for you.
Reading Marcus is hard work because you have to think when you read his sentences. He takes for granted that you know a hell of a lot about music and art and film and literature. He’s not into coddling the reader. So when he calls his book “The History Of Rock ‘N’ Roll In Ten Songs,” it’s not that you’re going to get the literal history of the music, what you’re going to get is a theory about rock ‘n’ roll, and then ten examples that, in different ways, back up that theory.
So Marcus takes his ten songs and writes an essay about each. He works hard to tell us why these songs matter so much to him, why each in its own way contains the history of rock ‘n’ roll, and why they should matter to us too. And after you read this book, they likely will.
Read the rest of this column at Addicted To Noise, and dig many other great music features, news and reviews.
Recently I was interviewed at length by Triple R radio’s Brian Wise, who DJ’s a three-hour show every week called “Off the Record.”
Last Saturday the first of four or five segments from the interview aired on “Off the Record.” That segment focused on Bob Dylan and included some discussion of why Dylan is so important to the narrator of my novel, True Love Scars.
As part of his show, Wise also interviewed David Kinney, author of The Dylanologists, and music critic Bill Wyman talking about Dylan.
I was also recorded reading from my True Love Scars, and two sections about Dylan are part of the first segment.
You’ll find a transcript of the interview here at the Australian Addicted To Noise site, but if you listen you’ll hear me read two excerpts from the novel that are about how Bob Dylan has impacted the narrator’s life.
The Kinney and Wyman interviews follow the one with me.
[I just published my rock ‘n’ roll/ coming-of-age novel, “True Love Scars,” which features a narrator who is obsessed with Bob Dylan. To read the first chapter, head here.
Or watch an arty video with audio of me reading from the novel here.]
–- A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
Veteran rock journalist Michael Goldberg, of Addicted To Noise and Sonic Net fame, is clearly working through some personal demons in his debut novel, a kind of poetic-license memoir rendered in a vivid 1st person voice containing echoes of Holden Caulfield, Sal Paradise and Danny Sugerman (who of course was not a fictional person, being a member of the Doors inner circle, but certainly wrote with a definite ego swagger in his own memoir). And in a very real sense, True Love Scars contains echoes of my own voice, because in reading the book I felt some of my demons from that time being stirred up, including initial musical alliances with key albums/concerts, mixed feelings toward my relationship with my parents and friends and memories of my first few crushes (not to mention losing my virginity).
Indeed, Michael Stein’s recollections chart an emotional arc as striking as I’ve seen a novel’s lead character experience, from naïve and tender to streetwise and hip to cynical and wounded, with Dylan lyrics seeming, to him, laden with meaning and Rolling Stones tunes, likewise, churning with prophecy. When he meets, for example, the girl he calls Sweet Sarah and they embark upon a doomed courtship, Dylan’s there as their guide and their muse. Later, though, following a breakup and a dark descent into teenage debauchery, Stein’s haunted by mental echoes of the ominous slide guitar riff powering the Stones’ “Sister Morphine.” Similar musical reference points from the time abound, as befits novelist Goldberg, who cut his teeth as a rock writer and came of age in that same era; it’s tempting to play the is-it-or-ain’t-it-autobiographical game with the book, since Goldberg has a temporal, geographical and personal backstory that mirrors, to a degree, Stein’s. (Stein’s nickname in the book is “Writerman,” which should tell you something.)
Later in the review Mills writes:
Goldberg advises us that True Love Scars is the initial installment of his “Freak Scene Dream Trilogy,” full of sex, drugs and rock ‘n’ roll plus the inevitable heartbreak and roadkill that comes with the whole package. “How the dream died and what there is left after,” he concludes. It’s worth noting that despite the timeframe outlined above, Stein/Writerman is actually narrating in retrospect from some as-yet-unspecified point in the near-present. So we know that despite the gradual sense of dread building up over the course of the book and present at its abrupt ending, he will manage to survive in some form and fashion despite whatever adventures—good, bad, ugly, tragic—will go down over the course of the next two volumes of the trilogy. I can’t wait to read ‘em.
After rave reviews of her memoir, Just Kids, she’s now on the front page of the New York Times Sunday Book Review with an essay about the new Haruki Murakami novel, “Colorless Tsukuru Tazaki and His Years of Pilgrimage.”
Smith is an excellent writer, she knows Murakami inside and out, and her review is a joy to read.
Here’s the first few graphs”
A devotional anticipation is generated by the announcement of a new Haruki Murakami book. Readers wait for his work the way past generations lined up at record stores for new albums by the Beatles or Bob Dylan. There is a happily frenzied collective expectancy — the effect of cultural voice, the Murakami effect. Within seven days of its midnight release, “Colorless Tsukuru Tazaki and His Years of Pilgrimage” sold over one million copies in Japan. I envision readers queuing up at midnight outside Tokyo bookstores: the alienated, the athletic, the disenchanted and the buoyant. I can’t help wondering what effect the book had on them, and what they were hoping for: the surreal, intra-dimensional side of Murakami or his more minimalist, realist side?
I had a vague premonition this book would be rooted in common human experience, less up my alley than the alien textures woven throughout “The Wind-Up Bird Chronicle.” Yet I also sensed strange notes forming, coiling within a small wound that would not heal. Whichever aspect of himself Murakami drew from in order to create “Colorless Tsukuru Tazaki and His Years of Pilgrimage,” it lies somewhere among the stones of his mystical labors.
He sits at his desk and makes this story: a young man’s traumatic entrance into adulthood and the shadowy passages he must subsequently negotiate. His protagonist’s name, Tsukuru, means “to make,” a metaphor for the writer’s process. He is 36 years old and builds and refurbishes train stations, continuously observing how to improve them. He has the touching habit of sitting in them for hours, watching trains arrive and depart and the symphonic flow of people. His love of railway stations connects him with each stage of his life — from toys, to study, to action. It is the one bright spot in an existence he imagines is pallid.
In a sense, Tsukuru is colorless by default. As a young man he belonged to a rare and harmonious group of friends wherein all but he had a family name corresponding to a color: Miss White, Miss Black, Mr. Red, Mr. Blue. He privately mourned this, sometimes feeling like a fifth leaf in a four-leaf clover. Yet they were as necessary to one another as the five fingers of a hand. As a sophomore in college, without explanation, he is suddenly and irrevocably banished from the group, cut off and left to drop into a murky abyss. Belonging nowhere, he becomes nothing.
[I just published my rock ‘n’ roll/ coming-of-age novel, “True Love Scars,” which features a narrator who is obsessed with Bob Dylan. To read the first chapter, head here.
Or watch an arty video with audio of me reading from the novel here.
Of just buy the damn thing:
–- A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
