Why did Bernice bob her hair?

"Bernice Bobs Her Hair," F. Scott Fitzgerald's short story published in the May 1, 1920, issue of the Saturday Evening Post. It was his first story to receive national attention. (Thanks, Wikipedia, for the image. I  wear your [Edit] T-shirt when I'm editing.)

I lived in 1919 for five years. It was the mid-to-late twenty-teens and, physically, I was in Cheyenne, Wyoming, but my mind was in 1919 Denver. This is the year my grandparents migrated to Colorado. War puts people in motion and the Great War  did that. But other factors were at work. Young people were restless, as we were to see in 1920s literature. We have always been part of a moveable feast in this country. We value the ability to get up and move. No state border guards to show our papers to. No permission needed if we decide to quit our job and move cross-country to take another one. Relationships break and partners seek new pastures, new people to connect with. 

Some move for their health. That was never more true than in the 19-teens when the flu pandemic and tuberculosis caused many to get up and go. In John Green's book "Tuberculosis is Everything," we see the rise of TB sanitoria throughout the western U.S., land of clean air, dry climates, and expansive vistas. Some cities got their starts with TB, places like Pasadena, Calif., and Colorado Springs, Colo. Denver's air, when it wasn't choked by those winter air inversions and coal smoke, was pristine, just the thing for lungers, as TB patients were called and not in a nice way.

So I spent much of my 20-teens in the 19-teens. I suppose part of me will always be there. The novel that arose from the project, "Zeppelins over Denver," is nearing publication. I've written a follow-up since, this one set in 1922. And I am always at work writing stories and blogs. I've surpassed my 10,000 hours of creative practice. I'm a bit tired of practicing and want to get on my way to doing and finishing and enjoying. 

I'm still hooked on the era. My Millennial daughter Annie phoned yesterday. She was deciding on a haircut for a job interview. She talked about getting a bob. 

"Bernice bobbed her hair," I said. 

Annie didn't recognize the literary reference but suspected it. "OK, Dad, who's Bernice?" 

"From the F. Scott Fitzgerald short story, " 'Bernice Bobs Her Hair.' " 

"What happens, Dad. A sad ending, right?"

I had to think. "I don't remember. It's been awhile."

"It's not Gatsby-like, is it? Grim and filled with messages about a corrupt society?"

"I'll have to get back to you on that."

So I pulled up "Bernice Bobs Her Hair and Other Stories." I was about to send it to my Kindle when I came across an  audiobook version. I began listening to that, took a break for lunch, and when I returned, I found a "Bernice" graphic novel just released in 2024. The cover illustration intrigued me and I downloaded that. I stayed up late to read. Glad I did. My neighborhood is dark and quiet at midnight, as is my house. Peaceful. My laughs echoed down the hallway and might have reached my slumbering wife but she didn't mention it the next morning.

I did not remember the track of this story. I must have read it in grade school, junior high, high school. Now I do remember another notable story of that era, "Why I Live at the P.O." by Eudora Welty. Richard Connell's "The Most Dangerous Game" was an eye-opener. They all were in the same Catholic Church-approved collection as "A Bottle of Milk for Mother" by Nelson Algren and something by Hemingway probably one of the Nick Adams stories. I linger over those stories now. They are deep, wild, and funny, what I missed out on as a teen.

I loved "Bernice Bobs Her Hair." I had so much fun with the graphic novel adapted and illustrated by John Paizs and published by Graphic Publications. The story was first published in May 1920 in the Saturday Evening Post. Its popularity cased the Post to publish another Bernice Story in November that included a color illustration of Bernice. Fitzgerald was paid real money by the Post and it helped launch his career. In 1920, writers earned a living by writing stories for popular magazines. This has not been true during my time as a writer. 

Go read "Bernice." A pleasant journey during troubled times.

A Writer Orders a Birthday Cake

She’s pretty but doesn’t know it yet or maybe she does, maybe her new spouse told her that this morning before she hustled off to a new job. But she’s still in college, I think, summer break from FSU, a job making and decorating cakes. Could be worse, with her skin, working out in the Florida sun in June. A head taller than the slight Indian woman in a sari she helps. The woman wants a birthday greeting on a whipped cream cake. She spells out her granddaughter’s name and the clerk writes it down, says that’s a pretty name and then admires the women’s shiny hoop bracelets. The clerk tries to write on whipped cream but it’s not going well and she summons the head baker, a white-clad bearded guy old enough to be her father. I think they would like to tell the customer that she might try another cake, you know, one of those solid bar cakes or maybe a sheet cake with buttercream frosting, the ones you can write on. They come up with a solution, placing a plastic oval over the cake and writing on that. A bald Indian man rolls by on his store scooter that matches the one I ride on. He speaks brusquely and then rolls past the doughnuts and disappears down an aisle. Minutes later he returns but the woman from India is patient and keeps at it. He rolls away again. The Indian man is about my age, maybe even younger. I want to be a watcher at the counter, quiet, as I wait to order my cake. The woman customer turns to me. She is beautiful and tells me that it’s her granddaughter’s birthday and she is 10. Happy birthday to her, I say, and she smiles. The baker and the clerk finish their work and I draw close to admire it. Pink greeting on clear plastic over a white cake. High art. She turns and leaves. I order a sheet cake for my siblings’ birthday. A quarter sheet? Enough for 25? The clerk isn’t sure, looks for the baker and he’s in the back and she fetches a cake from the cooler and shows it to me. I know it is not the size I want and I think she knows it too but then consults with the baker and he comes out and tells me it feeds 20 when you cut 2-inch-by-2-inch pieces. If it’s not enough, you can grab some of our cupcakes. He points to a table piled high with them. I like that solution. I order my cake, the clerk writes down the birthday greeting, and I leave them for the day, a day that will lead to other days and other stories. I pass the Indian woman on the cereal aisle. She smiles, raises the cake in a salute, and peers down the rows of Cheerios and Fruity Pebbles, looking for the bald man in the scooter.

The Nomad anthology wanders from the western wilds to my fog-wrapped Florida mailbox

The first anthology of The Nomad literary magazine landed in my mailbox yesterday. Unassuming cover with lots of goodies inside. Last summer Ken Waldman, one of the Nomad founders, asked me to send in two pieces of my work, one that I was proud of and had been published and another that I liked and hadn't been published. He tasked me with writing a short essay on my choices. So I sent editor Rachel White one story that had been published several times, "The Problem with Mrs. P," and one I just finished in June, "That Time We Got Married at a Tent Revival." The first story is set in Wyoming and the second in Florida and South Carolina.

I spent 46 years in Wyoming and Colorado, did a lot of my growing up in East Coast Florida and spent my first two years of a not-very-successful university stint in South Carolina. I've also written speculative fiction that takes place off-world and in an Earth future that I imagined. I have returned to Florida which has its own otherworldly aspects. 

I am in such good company with this anthology. My long-time friend Ken Waldman has two poems, one set in the Alaska he calls home and a villanelle set in New Orleans. New Mexico's Lisa D. Chavez includes a poem which turns the Little Red Riding Hood fairy tale on its head and a nonce sonnet, the meaning I had to look up. Detroit's M.L. Liebler weighs in with "Flag" which dissects yet "another dark chapter in American history" (the one happening now) and "Decoration Day" about Vietnam.

Wyoming friends still talk about 2002-2003 poetry and music performances featuring M.L. and Country Joe McDonald. Buffalo, Wyoming's David Romtvedt explores "another past life" and a childhood dream in his selections. I was undone by the images in Amy Gerstler's poem "Siren" which opens the anthology. Paul Fericano made me laugh with "Still Life with Mormons in My Living Room." Amy and Paul are from L.A. Paul published some of my prose poems on his Yossarian Universal News Service site (yunews.com). New Zealand's Michael McClane got my attention with the long title and World War 2 theme in "On the Disembarkation of Sergeant Nathan E. Cook in Auckland, 13 June 1942."

That's just the beginning. Lots of great selections. You can get a copy of the book by subscribing to The Nomad. It's $25 for one year and $40 for two. You can also donate to this "non-for-profit labor of love by two writers." New submission guidelines are up for 2025. See the web site for the Bountiful, Utah, mailing address.

Loneliness of a long-distance dress salesman, Wyoming, 1949

The opening paragraph of the opening story, "Roadkill," in my story collection, "The Weight of a Body:" 

The shapes grew out of the smoke and fog -- three pronghorn antelope, running hard. Matthew Kincannon mashed the car's brakes and swung the wheel hard left. He missed the first two, collided with the third on its white-tufted rump which rose like a balloon before its rear legs smacked the windshield, its hooves scraping the glass like sharpened fists.

I set the story in the summer of 1949 on Hwy. 189 just north of Kemmerer, Wyoming. The morning was foggy and smoky, the latter due to a stubborn forest fire in the Bridger-Teton National Forest. I hit the rear end of an antelope that came out of nowhere. It tumbled to the side of the road, creating a dust cloud. I pulled over and ran to what I thought would be a mortally wounded creature. Nothing. I searched up and down the shoulder and came up empty. It was just dawn so no traffic. I returned to the car and investigated the front bumper. Nothing. My first thought was, "Did I imagine this?" But it was just a mysterious encounter along a deserted Wyoming road, of which there are many. On my way to a noon lunch meeting with arts patrons in Jackson, I thought about my father. In the late 1940s, one of the many jobs he tried post-war was a traveling salesman selling women's dresses for a Denver clothier. He sold one dress. He quit when he returned to Denver. He laughed when he told us kids the story. I laugh about it now. Dad was no high-pressure salesman. Still, he kept at it, first as an insurance salesman in Denver's Five Points neighborhood and the he joined Armour Meat Company to sell beef. The first thing the company did was transfer him to their Albuquerque office. He sorted mail at the Denver post office when I was born in 1950. Mom said he woke up with war nightmares when we got into Korea thinking the army would drag him into the fight. He spent four years in the army in Normandy, the Battle of the Bulge, and German occupation duty. After Mom died, we had drinks at his favorite watering hole and he said, "I always wanted to be a monk." I almost choked on my gin and tonic. "Too late Dad" I told the father of nine. As I drove the state for the Wyoming Arts Council, I often thought of Dad and his rack of dresses hanging in the backseat of his pre-war Dodge. He was engaged to my mom the nurse and just wanted to make good so he could marry her. I reckon that most of his thoughts were on Anna and not on sales tactics for dress store proprietors in Pinedale and Ten Sleep. I turned my imagination loose and came up with the fiction in my story. This blog is for you, Dad. 

Copies of "The Weight of a Body" are available on Amazon (book free with Kindle Unlimited membership). Tell them Father Tom, Father of Nine, member of the celestial monastery, sent you.

On that stretch of sand near J.D. Salinger's favorite Daytona Beach hotel

June 1966. My boss asked me why I was drilling a hole so close to the frothing ocean. High tide coming, boy. Looking for bananafish, I said, and turned the auger in the soft wet sand, digging a hole for the tourist's umbrella. What you talkin' about boy? Sir it's a perfect day for bananafish in Daytona. He grabbed the auger and told me to pick up my five dollars for a day's work and get off his damn beach. Now, he said. I dove head-first into the fresh hole. Blue-green water gave way to a murky yellow soup where dead bananafish floated. They ate too many bananas, swelled, and couldn't escape into sunlight. It was summer 1948. Salinger's Seymour tried to explain it to the kids on the beach at Daytona but they just thought him crazy, which he was, I suppose. So this is what you saw in the war, Sergeant Salinger? Bananafish floating, mutilated bananafish everywhere. That dreadful allied mistake off the English coast, bloody Normandy hedgerows, the bitter Bulge, the stink of the liberated extermination camp. Dead bananafish drove you into the asylum in Germany and you never came out, not really. You shipped out to another bigger asylum, the U.S.A., wrote about it, and we never understood. Your stories spread the alarm. We never understood. We kept looking for that one yellow bananafish who made it out into the blue-green waters. We are looking still.

Sources: Sergeant Salinger, Jerome Charyn; A Perfect Day for Bananafish, Nine Stories, J.D. Salinger.

Silas House's "Southernmost" takes the reader way way down south

Pain pours from  "Southernmost," the latest novel by Silas House. Most of it comes from Asher Sharp. He's a fundamentalist Christian preacher in rural Tennessee who yearns to do the right thing but brings down a cascading series of disasters. The river floods and he rescues a gay couple and invites them to his church. The congregation is scandalized. All hell breaks loose when same-sex marriage is legalized and the couple asks Asher to marry them. A strict gimme-that-ol'-time-religion preacher would refuse. But ten years before, Asher drove his gay brother Luke out of the church and out of town and he's regretted it ever since. He asks permission from the church council. Absolutely not, they say. 

From the pulpit, Asher blasts this narrow-mindedness and his angry tirade is filmed and goes viral and gets him in trouble. His wife turns on him as do church members and almost everyone in town. Lydia, his wife, uses the video to persuade a divorce court judge that Asher is too unbalanced for joint custody of their nine-year-old son, Justin. This loss is too much for him. He kidnaps his son and travels to Key West to ask forgiveness from his brother whose last communication from him carried a postmark of Key West, the "southernmost" city in the U S. Thus the title of the novel.

Asher does his best to keep a low profile and moves into an enclave populated by an engaging group of Florida Keys misfits. It becomes Asher's de facto congregation but that's not how he sees it. He just wants to safeguard Justin and apologize to Luke. Along the way, Asher learns key lessons in love and friendship and forgiveness. 

Almost anything can happen. Key West has a free-and-easy reputation. There is a price to pay for kidnapping -- just what will that be? House keeps us guessing to the end. Meanwhile, we get a deftly told tale at turns heart-breaking and delightful with a cast of intriguing characters.

I had never read this author but knew I was in good hands with its publisher, North Carolina's Algonquin  Books (now part of the Hachette Book Group). Look at their online catalog and try to restrain yourself from ordering new novels by Julia Alvarez and Lee Smith and works by Chuck D and Neil Gaiman. 

A podcast asks: What Should I Read Next? "Florida" by Gainesville writer Lauren Groff

I almost literally ran into fiction writer Lauren Groff outside the Tallahassee Marriott. I was chatting with my sister Molly, the pusher (of my wheelchair) and there was Groff, big as life and very noticeable in her pantsuit of many colors. My sister Molly stopped the wheelchair and chatted with Groff as if they were old friends but just met at the authors' table buying books for me, the Groff fan who attended her session at Word of South, the city's spring celebration of literature and music. "Is this him?" Groff pointed at me. Molly replied, "That's him." Me (a.k.a. him) was pleased that she knew my name and that I was a grad of UF where Lauren teaches writing. "I love your stories."

I was referring to her National-Book-Award-nominated "Florida" with a native Florida panther on the cover. Most stories in the collection are set in Florida (no surprise there) and they are knock-your-socks-off wonderful. I keep the trade paperback on my bookshelf within reach of my Wyoming writing desk where I write this now.

A few weeks ago I reread the opening story "Ghosts and Empties" about a working woman and mother who slips on her running shoes and prowls her Gainesville neighborhood at night. Why? "I have somehow become a woman who yells..." She hooked me right there. That is the joy of any fiction, the opener, one that delivers.

The next story, "At the Earth's Imagined Corners," is even better in an entirely different way. We leave contemporary Florida for the 1930s and '40s in rural Florida "at the edge of a swamp with unnamed species of reptiles." It's a tough one, filled with rage and unnamed reptiles. "Dogs Go Wolf" features two young girls abandoned by their parents on a Florida island. Uh oh, I thought, fearing the worst. The girls turn their dilemma into an adventure and the ending may surprise.

During our afternoon at the Marriott ballroom, we saw a rendition of "Peter and the Wolf" performed by the South Georgia Ballet Company. Following that, we heard from three experts on what we should read next. After that, Groff was interviewed by Anne Bogel for her podcast, "What Should I Read Next?" We discovered that Groff was set to open an indie bookstore in Gainesville, a "general interest bookstore” that emphasizes banned books, BIPOC authors, LGBTQ+ authors, and Florida authors."

My kind of bookstore. It's located at 601 Main Street, part of the new South Main Station. Groff's husband, Clay Kallman, grew up working at his parents' Florida Bookstore where I bought "gently-used" paperbacks for my English classes. As Groff told the Independent Florida Alligator: “We were hoping to respond to the recent authoritarian slide in the state of Florida right now,” Groff said, “and to respond with celebration of a lot of the books that are currently being banned.”

Amen and hallelujah.

It's a perfect day for Bananafish, until it isn't

Just one more thing about Jerome Charyn and J.D. Salinger...

In "Sergeant Salinger," the author stresses Salinger's "battle fatigue" (PTSD) which is a major part of the story. But not all. Charyn writes that some of the signs were there as a youth. An unusual boy with loads of imagination and talent. He struggled in school. First he was in a NYC public school that he liked and then went to a private academy when his father started being successful and moved to Park Avenue. He struggled here. His parents pulled him out, enrolled him in a military school in Pennsylvania where he thrived. The discipline and routine was good for him. It appears he had the makings of a soldier at an early age. And he was a good soldier in the war although a bit unorthodox. His teen years also gave signs of genius and mental health challenges. 

I bring this up because some experts have traced many cases to PTSD to a soldier's early life. Maybe they had trouble learning or maybe they were just a bit off-kilter. What would he have been like without his war experiences? Who knows? But he did and he was a recluse and very careful with his privacy and reputation. Not everything he wrote later in life was as good as "Nine Stories" and "Catcher in the Rye." He joins a long line of writers who hit it big early on and then not so much. Jerome Charyn, on the other hand, just keeps getting better at 86. 

I have no first-hand knowledge of military service and combat. But good books and movies can impart some of that experience. Charyn does it in this novel. Vietnam vet writers such as Tim O'Brien and Larry Heinemann and Bill Ehrhart and Yusef Komunyakaa do it in print. It took flyer Joseph Heller 17 years to write and then publish "Catch-22." It took Kurt Vonnegut even longer to serve up the Dresden firebombing in "Slaughterhouse Five." Silent movie film director W.S. Murnau took his years as a World War I German combat pilot and created a monstrous creature in "Nosferatu." J.R.R. Tolkien transferred the horror of the trenches into a blighted netherworld called Mordor with its pitched battles and fiery pits and humans adrift in murky holes -- you know, The Somme, July 1916. 

"No soldier ever really survives a war" -- Audie Murphy

Make that two more things...

In a chapter near the end of "Sargeant Salinger," Sonny Salinger and his sister Doris vacation at the Plaza Hotel in Daytona Beach, Fla. The Plaza was a post-war vacation destination for Northerners. It was best known for the tunnel motorists blasted through to get to "The World's Most Famous Beach," back when you could drive freely on it. That was my introduction to the Atlantic Ocean when our father drove us through it on our first day in Daytona. 

In the novel, Sonny breaks away from his sister's watchful eye and joins some kids making sandcastles on the beach. The kids eye him suspiciously as he joins in, shows them some techniques he perfected during family trips to Daytona. A concerned mother fetches her kids and eventually Doris fetches her brother. Nothing is mentioned about bananafish but you can see the beginnings of the short story. 

This became my beach in the late 60s, from the Plaza down to Hartford approach where we surfed. The only thing I knew about Salinger then is that I had to read "Catcher in the Rye" for English class. We chatted up girls, played frisbee and made sandcastles when the surf was flat, as we used to say. We eventually headed home and off to our night jobs at restaurants and hotels. My mind was mostly on surf and girls, getting enough pay for gas so we could find surf when none was to be found in Daytona.

Next time I visit Daytona to see family and friends, I'm going to the beach in front of the Plaza and try to see what Salinger saw. I know now that writers see things others don't. I may spot a bananafish struggling to get out of a hole in the ocean because it got too fat eating underwater bananas.

"Sergeant Salinger" by Jerome Charyn will rip your heart out

I was gobsmacked by an historical novel written about a famous author’s experiences in World War II.

“Sergeant Salinger” by Jerome Charyn is about J.D. Salinger, the most reclusive of American authors. His war experiences and the PTSD that followed helps explain why he kept his distance from his fellow humans for most of his adult life.

But that’s not the whole story. We first meet Salinger as a young single on the make in New York City. He dates Oona O’Neil, the vampish daughter of playwright Eugene O’Neill, and hangs out at the Stork Club with the likes of Walter Winchell and famous people we recognize by their last names or nicknames. Papa “Hem” Hemingway is one of them. Salinger writes radio scripts and short stories and readers like them but they are nothing to write home about. The letters home come later when he has something to say.

Salinger gets drafted even though he’d been previously diagnosed with a heart murmur. It’s the spring of ’42 and Uncle Sam needs everybody, even “half-Jewish writers with heart murmurs.” You’d think that Salinger (he goes by the nickname Sonny) would land in a cushy stateside job writing press releases or speeches for generals. What happens is something horrific and unexpected, even for someone like me who knows Salinger’s stories of PTSD veterans (“For Esme with Love and Squalor” and “A Perfect Day for Bananafish”). Salinger told these stories from the inside out. The author’s “Nine Stories” broke my heart when I first read them all in my 20s. Another heartbreaking story about returning vets is “Hemingway’s “A Soldier’s Story.” In “Sergeant Salinger,” there’s a scene when a jaded Hem visits Salinger in a Nuremberg psych ward and calls his own story “amateurish.” Hem groused that everything was behind him. He published “The Old Man and the Sea” in 1952 and it won the Pulitzer Prize in 1953 and Nobel Prize in 1954.

Lest you think Charyn has employed his magnificent storytelling skills to make it all up, think again. I did too. Until Part One: Slapton Sands, the section that follows Prelude: Oona. Salinger is a Counter Intelligence Corps (CIC) NCO, who accompanies invading troops to interview prisoners and others who might spill the beans on Nazi war plans. He speaks German. He’s been drilled in all the tricks of the interrogator’s trade. While preparing for the D-Day landings, he’s witness to one of the army’s biggest tragedies. In a practice run for Normandy on Lyme Bay on the Channel side of England, a live-fire exercise goes astray and German’s Kriegsmarine speedboats sneak in an torpedo LSTs, spilling overloaded troops into the ocean. There are 749 casualties, some interred in mass graves, and Charyn documents it.

I told myself this couldn’t possibly happen. I looked it up. It happened. That’s when I knew we were off on a wild ride. We go to Utah Beach on June 6, 1944. Salinger is in the thick of it with the Fourth Division. They get into hedgerow battles with dug-in German troops and 82^nd Airborne “sky soldiers” (paratroopers) who are keen to even the score with Nazis who shot their comrades out of the sky when they dropped into the wrong spot. I looked that up too and it was much more gruesome than featured in “The Longest Day,” book or movie. Anywhere, for that matter.

Kudos to Charyn for doing his homework. He is a brilliant writer, one I’ve liked since getting hooked on his Inspector Isaac Sidel novels. We are in the shit with Salinger all the way through occupation duty in Germany. And he comes home which we all know. Salinger humped his “Catcher in the Rye” manuscript through Europe and wrote until he couldn’t write any more. The novel ends with the manuscript in his tiny retreat on Sleepy Hollow Lane, a street that Salinger invents because of its locale near the setting of the famous Washington Irving story. Nobody but family can find him there. Until he finishes his war-battered manuscript and it becomes a best seller. "Catcher in the Rye" still makes waves. 

Publisher is Bellevue Literary Press of New York, a small press with origins at Bellevue Hospital, noted for its Psychiatric Unit (the Ghostbusters were interned there, briefly) and the medical offices where Dr. Lewis Thomas wrote the best-selling “Lives of a Cell.” I haven’t read most of its authors who write, Bellevue notes, “at the intersection of the arts and sciences.” They’ve also published other books by Charyn, including his latest “Ravage & Son,” a “vintage noir” set in Manhattan’s Lower East Side during the turn of the last century. I have pre-ordered it. Charyn has other historicals. Look them up at his web site at jeromecharyn.com

Is it possible to write contemporary epistolary fiction in a world without letter-writing?

I took a chance on reading one of the Amazon Original Stories on Kindle. It was "Evidence of the Affair" by Taylor Jenkins Reid. One of the site's many offerings, I took a chance on it because it was an epistolary story, told entirely in letters. This is a dangerous genre because, number one, letters can be incredibly boring. Number two, it can be very formulaic and limits POV. Number 3, nobody writes letters any more.

That final reason makes it an historical short story because it takes place in 1976-1978. This was back before email and the Internet. People sat down, wrote a letter on paper, put it in an envelope, addressed and stamped in, drove to the post office to mailed it. You then had to wait several days or weeks or even months before a reply came. You sometimes got an instantaneous reply if, maybe you were ending a relationship. A quicker reply might come via long distance phone call and someone (maybe you) might be a few drinks into the night when you took that call and got an earful from a wounded former partner. Let me give you an example. I got a late night call, summer 1973, from my girlfriend in Boston. She broke up with me, saying there was no future in our relationship because she was going to nursing school in Connecticut and I was working at a lumber yard in Florida barely making ends meet and it looked from afar that I had no future. I was upset after saying farewell and wrote a long sappy letter that included an entire Kahlil Gibran poem. Gibran's work is very accommodating for almost any occasion. I did not get a reply.

The epistolary novel has a fine history. In 1740, Samuel Richardson wrote the first epistolary novel I studied in English class, "Pamela." It was immediately parodied by Henry Fielding's "Shamela" in 1741 and later by Monty Python. The most well-known contemporary epistolary novel is "The Perks of Being a Wallflower" by Stephen Chbosky and "The Guernsey Potato Peel Pie and Literary Society" based on letters and telegrams to and from the female protagonist. I liked this book and the TV limited series wasn't bad. 

Reid is known for her romances and this story is one. At first, it doesn't seem so as the two main correspondents in "Evidence of the Affair" find out their spouses are cheating on them. The letters fly back and forth. They unearth letters from the cheaters in briefcases and recipe books. The drama builds and I won't ruin it for you but the ending is more dynamic than I expected and very sweet. 

What is this thing Amazon Original Stories on Kindle? Look them up on Amazon, the keeper of all things (most recent purchase: belts for my vacuum cleaner). You can sign up for Kindle Unlimited and read some for free. I do that, I have to admit, although I paid $1.99 for Reid's story. Sometimes you pay for the print edition and get the Audible audiobook version for free (or vice versa). 

I came across a new collection entitled "Warmer" which is described this way:

"Warmer," a collection of seven visions of a conceivable tomorrow by today’s most thought-provoking authors. Alarming, inventive, intimate, and frightening, each story can be read, or listened to, in a single breathtaking sitting. 

Stories include three by writers whose work I admire: Jane Smiley, Lauren Groff, and Jess Walter. The four others must be pretty good to be in such company. You can read and listen to all seven stories for free. I can anyway. These free stories are designed to get you to buy the authors' books. Sign up for Kindle Unlimited and you get the stories free along with free shipping for vacuum cleaner belts.  

PS: I have republished a story collection on Amazon, "The Weight of a Body." You have to pay for it although it's also a free offering on KU.

Jane Campbell explores the "persecution of remembering" in her Cat Brushing story collection

The cover of Jane Campbell's story collection, "Cat Brushing," shows a ringed hand sweeping across the fur of what must be a very large cat or maybe the gorgeous gray locks of one of the author's elderly women characters. It could be both as you will discover reading her 13 wonderful stories in the POV of women in their 70s and beyond. This is her first book, published in her 80th year, as it says on the book jacket. I'm nine years younger than her which puts us, approximately, in the same age cohort.  

These tales are quite personal, erotic in spots. Am I surprised that women of a certain age have erotic thoughts and sometimes more than thoughts? No, but as a person in this age group, I am impressed by the directness of the stories. It challenges the idea that women of a certain age must be handled carefully lest they fall and break a hip or leave a pot burning on the stove. It's the "I've fallen and I can't get up" woman sprawled on the kitchen floor who would be lost without her handy Medic-Alert bracelet and her male rescuers. Old and helpless.

Fuck that.

In "The Question," the narrator gulps down a dose of morphine and describes the rush that results. I figured she was a goner, in the last stages of cancer, but she's actually a feisty woman who chased after her cat on a winter night and fell on her porch's icy steps. The idea that she likes the buzz of the morphine helps us get to know this woman in a rehab center who has no intention of staying abed. Tests surprisingly reveal she has no broken bones and only sustained a few bumps and bruises. When released, she asks her male nurse if she can have a to-go portion of the opioid. He genially refuses but as we read the interaction between patient and nurse, we find that she knew him in the past and knows his dark secret. 

The writer has a sure touch in turning tales on their head. In "Kiskadee," a woman lies by a pool in Bermuda and hears the melodious song of the Kiskadee, a predatory tropical bird with a big beak designed for killing. Interspersed are memories of her "special relationship" with her father. She recalls years of touching and cuddling, sleeping together, syrupy words from the father. Story's end has a horrible twist which I won't spoil here.

Most of these women recount loves gained and loves lost. The memories are clear and immediate, no brain fog here.

I reread Campbell's second story, "The Scratch."  Nell wonders how she scratched herself, a cut that bled profusely. 

What drawers had she opened carelessly, perhaps knives rearranged, had she handled scissors?

She forgets about phone calls with her grown children. She forgets things even though she writes everything in her diary.

But it's not the forgetting that concerns her most. 

The old barriers behind which she could once shelter... they all tumble down as the years pass. Just as running upstairs becomes a lost art and skipping down becomes impossible, so the capacity to forget is lost. There is a persecution of remembering. Remembering so much. Those midnight hours, dark nights of the soul, where remorse bites hard and the past presses against you.

Nell, in her 70s, forgets how to forget. 

I too, in my 70s, have forgotten how to forget. Memories become crisp and clear, even those I want to forget. This hit me so hard. Since retirement, I've been wondering why old memories come flooding back to me. As an old person, aren't I suppose to forget things instead of them rushing back to me with incredible force? It's not like I'm bored, lazing about in a tepid pool of nostalgia. 

Still, the memories flow. 

As you climb toward retirement, friends and family urge you to be busy when work ceases and you have all the time in the world. People get bored, get sick, get careless. But that's not it at all. Memories can overwhelm your present if you are not busy making more memories. They don't tell you about the "persecution of remembering." We have to leave that up to Campbell and her fictional characters. 

"The Weight of a Body" collection now available in print version

The print version of my book is now available to order on Amazon. "The Weight of a Body: A Collection of Short Stories" features 12 stories set (in no particular order) Wyoming, Colorado, and Florida. The collection was originally published by Denver's now-defunct Ghost Road Press and I decided earlier in the year to republish it as an e-book and now a print version. Here's the cover:

The act of republishing on KDP Amazon entails formatting, design, and editing. I formatted my MS Word files on Draft2Digital (D2D). I then brought that over to KDP to transform it into an e-book. It took me awhile to read an e-book on my Kindle and even longer to make one. My guide through the process was writer and critique group colleague Liz Roadifer. Read her books here. 

Here's a teaser from the opening story, "Roadkill:"

The shapes grew out of the smoke and fog -- three pronghorn antelope, running hard. Matthew Kincannon mashed the car's brakes and swung the wheel hard left. He missed the first two, collided with the third on its white-tufted rump which rose like a balloon before its rear legs smacked the windshield, its hooves scraping the glass like sharpened fists.

This won't be my only project on KDP. Stay tuned for news about my second collection later this year. Most of those stories are set in Wyoming and Colorado. 

Mrs. P has a problem and needs some help

The opener for one of the stories in my collection, The Weight of a Body, now available as an e-book on Amazon. The story was inspired by a real incident, one that I've taken great care to turn into fiction. Poetry wiz and literary lion M.L. Liebler liked it enough to include it in the anthology, Working Words: Punching the Clock and Kicking Out the Jams, published by Coffee House Press. It features poetry, fiction, and nonfiction by and about America's working class. Contributors include Philip Levine, Diane di Prima, Willa Cather, Jack White, Quincy Troupe, Li-Young Lee and a host of others. Find a copy at your favorite bookstore. Read on...

The Problem with Mrs. P 

First problem: nobody was home to help. Not her two daughters, off to school. Not her husband Robbie, who hadn’t been home for weeks, probably right this minute at that whore Gloria’s house.

Second problem: she was seven months pregnant and bleeding like crazy. She pressed a cream-colored towel against her crotch; it bloomed with a red chrysanthemum of her own blood. She stood in the bathroom doorway, eyes sparking, knees shaking.

Third problem: her damn husband had the car. Not that she was in any shape to make the seven-mile drive into Cheyenne, a few more if you factored in the hospital which was downtown.

Fourth problem: the telephone was dead, thanks to Robbie not paying the bills like he was supposed to. She had her own cell phone with a few minutes still left on it. But it was downstairs on the kitchen table. Just the thought of negotiating the stairs brought a throbbing to her abdomen.

Fifth problem, or maybe it was the first: she and her baby boy might be dying.

To be continued...

"The Weight of a Body" can be measured in stories

Opening of the first story in my collection, "The Weight of the Body," now available as an Amazon e-book. 

Roadkill

The shapes grew out of the smoke and fog -- three pronghorn antelope, running hard. Matthew Kincannon mashed the car’s brakes and swung the wheel hard left. He missed the first two, collided with the third on its white-tufted rump which rose like a balloon before its rear legs smacked the windshield, its hooves scraping the glass like sharpened fists.

Kincannon wrestled the car to a stop on the wrong side of the state highway. He had a vision of a huge logging truck red-balling down the road, smashing him like he’d smashed the antelope. Tapping the gas, he swerved back into the north-bound lane, and eased his car to a stop on the road’s shoulder.

Read more...

Welcome to e-book land w/update

Friend and writing colleague Liz Roadifer is my mentor to the e-book world.

She has formatted five of her titles and they are featured on Amazon. To access, write Liz's name in the Universe of Amazon search box and there you are. The books are in five different categories: suspense, fantasy and young adult. I have read them all in manuscript form because Liz and I are members of a local critique group, Cheyenne Area Writers Group or CAWG. You won't find a listing for us on or off the Internet. We're not so much a secret organization as a nondescript one. Members are five now and we meet via Zoom every two weeks to critique one another's fiction projects. Members have come and gone over the past 20 years. But all of us, past and present, are published thanks in part to the good graces and fine eyes of CAWGers.

Most of my colleagues write what's labeled as genre fiction, a category MFAers are taught to loathe. Silly MFA programs. I wrote a suspense novel back in the day which never sold even though I had an agent I met at a writing conference. It taught me a lot mainly that I wanted to be a better writer. So I left the corporate world for the academy and the rest is history. I now write better than I did in my 20s and 30s. How much of that is due to maturity and voracious reading and how much is due to writing workshops is hard to say. Let's say 50/50. 

So here I am, formatting my first book of stories for Kindle Direct Publishing. Rights for the book reverted back to me after my press folded. I have a few print copies flitting about but have resisted the e-book world. I have written another book of stories and a novel, still unpublished. I am putting them all online. I've been writing on Blogger for 16 years, having signed up on a whim in 2001. I've posted almost 3,600 blogs. I used to be part of Blogger's AdSense program but never made any money. It requires you to have ads on your site and I found some disturbing and others stupid. 

So now I am signing on to the largest corporation in the known universe, the people who gave us spaceships, delivery drones, and free shipping. The KDP program is easy to learn and widens the audience. What's not to like? I'm almost finished with the formatting stage and ready to release it into KDP's care. It would be wrapping it up right this very minute but I am blogging instead. I spend too much time on my blog but it does give me a platform for promotion that not everyone has. Platform, of course, is the thing that all writers must have these days. Writers you see on TV usually have a platform or they wouldn't be on TV. I saw an interview with George Saunders on Stephen Colbert a few years ago and went out and bought "Lincoln in the Bardo" and his wild story collection, "CivilWarLand in Bad Decline." I love those stories. It was fantastic to see a real author on the airwaves. We need more of that.

So back to e-booking. Kudos to Liz for her persistence and patience. The book should be available soon, just in time for Christmas and the next Covid lockdown. 

UPDATE 12/6/21: "The Weight of a Body" Kindle edition now available on Amazon.

The story of the dead sculptor's homecoming in Sand City, Kansas

Great article in the Nov. 12 edition of Flatwater Free Press: How a 101-year-old linked to Willa Cather altered a small town's future. Talks about Antonette "Toni" Willa Skupa Turner, a resident of Bladen, Nebraska, just down the road from Red Cloud. Toni Turner died at 101 in August. She was the granddaughter of Anna Pavelka, the real-life inspiration for Willa Cather's "My Antonia." Turner spent her life talking up Pavelka and Cather, a dynamo who helped turn Red Cloud into one of the most vibrant locations dedicated to any American author. More than 10,000 Cather fans journey to Red Cloud annually. Turner was the local literary celebrity everyone from Cather scholars to rabid readers wanted to meet. Cather based so many of her books and stories on Red Cloud and its people. Cavelka, a Czech immigrant, and Cather, intelligent girl of the town doctor, were from different worlds but forged a friendship that gave birth to a famous novel. 

My interest in Cather goes back to high school when I read "The Sculptor's Funeral" for American literature class. It was on of the classics in the typical 1960s lit anthology with all of the usual suspects: Hawthorne, Twain, Dickinson, Hemingway, Faulkner. Nary a writer of color in the batch. But Cather's story spoke to me. I couldn't pin a name to it. A famous sculptor's body is transported back to his Kansas small town on Sand City. Turns out the sculptor was a weird kid who got the hell out as soon as he could. He died young from TB and his final arrival causes much talk among the populace, most of it negative. Jim Laird, Harvey Merrick's childhood friend who is drunk, hears their snarky comments and confronts them:

Harvey Merrick wouldn't have given one sunset over your marshes for all you've got put together, and you know it.

Laird leaves in a huff. The final paragraph wraps things up:

The thing in him that Harvey Merrick had loved must have gone underground with Harvey Merrick's coffin; for it never spoke again, and Jim got the cold he died of driving across the Colorado mountains to defend one of Phelps's sons, who had got into trouble out there by cutting government timber.

It's a sad story. Lots of sadness in Cather's work and moments of triumph. She draws distinctive characters and it's hard not to be moved. When I read the story at 16, I knew something significant had happened but didn't exactly know what. Artists are different -- everybody knows that! -- and Merrick's differences made him an oddball in Sand City. Jim was an educated guy, a good guy who died helping out one of the town's worthless sons.

Why are all of these stories so damn sad? Cather's sculptor, Hemingway's soldier home from the war or the old man and his fish,  Algren's young punk who just wants a bottle of milk for mother, Dorothy Parker's big blonde. I thought I knew what sadness was but did not. I do now. I write sad stories because life is sad. The story is in the telling of the sadness lightened up with wit.

Cather changed her identity when she went off to the University of Nebraska. She dressed in men's clothes and went by Willie. She excelled in writing and journalism and worked her way out of Nebraska. But she escaped the sculptor's fate. She is celebrated in the town that inspired so much of her work. Not everyone is a fan. Her struggles with sexual identity make some Nebraskans nervous, even some of those in Red Cloud who reap economic benefits from the writer's legacy. 

I've read the novels but I keep returning to her stories especially the one about the dead sculptor coming home to a hometown that never knew him.  

"Sing, Maria" gets to the heart of the story

Fast-forward to the 32-minute mark for True Troupe's staged reading for Annie Shay's script "Sing, Maria" based one one of my short stories.

"Lincoln in the Bardo" explores the gap between tragedy and comedy

George Saunders' novel "Lincoln in the Bardo" is eerie and hilarious. The novel is written by an experienced short story writer and is structured as a series of scenes set in the cemetery where Abraham Lincoln visits the resting place of his 11-year-old son, Willie. Saunders has constructed an excellent novel from snatches of dialogue from dead people and swatches from books about he Civil War era in Washington, D.C. You can be excused for getting lost amidst the first few pages and wondering where the book was going. I did. But I persevered, as you sometimes have to do with a challenging literary work.

At the core of the story is a man mourning the untimely death of his son. How do you cope with such a loss? You could write a book about Lincoln's monumental depression. We have seen public figures deal with the death of their offspring. Joe Biden publicly mourned the death of his son Beau and Beau was a seasoned adult and war veteran. But mourning a young son or daughter is a special kind of hell, one that doesn't require a belief in the actual Hell of the Bible or religious iconography or even Dante. It's a hell on earth.

First, what is a bardo? From Merriam-Webster Online:

The intermediate or astral state of the soul after death and before rebirth.

As is true with all online research, you can use this dictionary definition as a launching pad into a universe of references. Bardo is a Tibetan term that's found in the Bardo Todol in the Tibetan Book of the Dead. Bardo Todol is translated as "Liberation in the Intermediate State Through Hearing."

Here's a quote from a Lion's Roar piece from April 2017:

More generally, the word bardo refers to the gap or space we experience between any two states. The lesser-known bardos described in the traditional texts include the bardo of dreaming, the bardo of meditating, and even the bardo of this life—which is, after all, the intermediate state between birth and death. 

A bardo can even be seen as the pause between one thought and another. I experience bardos on a daily basis but didn't realize it.  Once you know that, the shades that inhabit the cemetery where Willie Lincoln is buried take on a new dimension. They are not ghosts, really, or those dead people with unfinished business who haunt old hotels and abandoned mental asylums. You know, the ones who get the attention of the guys on TV's "Ghost Adventures." These souls in the bardo make up a compelling cast of characters who comment on Willie's funeral and Lincoln's nighttime foray to his son's final resting place. The two main narrators are printer Hans Vollman and Roger Blevins III, an eternally young man with some secrets.

In the reader's guide that follows the novel (Random House trade paperback), Saunders describes the core question in the novel this way: "How do we continue to love in a world in which the objects of our love are so conditional?"

Heartbreak is at the heart off "Lincoln in the Bardo." Lincoln is so heartbroken by Willie's death that he can barely go on, that he forgets he has another young son at home in a sickbed. Some of the most amazing lines in the book happen when each of the spirits admits he/she is dead and transforms into the next life. As they depart, onlookers get a glimpse into their lives before death and the lives they could have led had they lived to a normal life span. I was reminded of the graveyard scenes in "Our Town," when the dead comment on the fragility -- and ignorance -- of the living. Life is a mystery and a tragedy. Heartbreak is our destiny. The ones we love leave us and we are challenged to keep going in this sphere. Lincoln lost a son, lived with an off-kilter wife, and had a war to run. We often hear of "Lincoln the Emancipator" and "Lincoln the Rail-Splitter." The mythic Lincoln. In recent years, we have heard more about the Lincoln with crippling depression. I can hear R.E.M.'s Michael Stipe wailing "Everybody Hurts" as Lincoln makes his way home from the cemetery.

One note about Saunders as short story writer: I hadn't read a Saunders story in awhile. Not sure why. I picked up a 2016 Random House paperback reissue of "CivilWarLand in Bad Decline" at my local bookstore. I read the title story and beheld intimations of what would appear in "Bardo." We meet the "ghostly McKinnon family" who occupied the CivilWarLand site back during the Civil War. They met a bad end at the hands of Mr. McKinnon, who was never the same after the Battle of Antietam. The daughter, Maribeth, is "a homely sincere girl who glides around moaning and pining and reading bad poetry chapbooks. Whenever we keep the Park open late for high-school parties, she's in her glory." Maribeth is more real than the narrator's two bratty sons. Saunders makes the real absurd and the absurd real. As Joshua Ferris notes in the intro, it's the latter skill "is a much harder trick to pull off" but it moves Saunders from the pigeonhole of satirist and "into the open air of the first-rate artist."

In "Lincoln in the Bardo," Saunders skill as a writer helps us see that the human tragedy is also the human comedy. Maybe that's a bardo, too, the gap between tragedy and comedy.

Catching up on my reading -- D.H. Lawrence's "Sons and Lovers"

The most recent book I've read by D.H. Lawrence is "Sons and Lovers."

It's the only Lawrence novel I've read. Ever.

Not sure how I missed them. Although he published this and two other books prior to The Great War, his reputation was mostly made in the 1920s. He was in the midst of the "Lost Generation" of writers shaped by the war. He and his German-born wife, Frieda, were booted out of Cornwall in England for allegedly signalling German submarines. Lawrence is is mainly known in the U.S. for his time with Georgia O'Keefe and Mabel Dodge Luhan and writers such as Aldous Huxley in a ranch near Taos, N.M. He is the author of "Lady Chatterley's Lover," banned in the U.S. and U.K. in 1928. The first unexpurgated edition came out in 1960, 30 years after Lawrence's death from TB.

As spawn of the 1960s, I am surprised that I never read -- or tried to read -- "Lady Chatterley's Lover." Wasn't on the shelves in any of my K-12 schools, public or Catholic. It may have been in the public library but librarians of the day were on the lookout for impressionable teens attempting to check out smutty books. Guardians of the Book Galaxy.

Published in 1913, "Sons and L:overs" tells the story of Paul Morel as he comes of age in the Nottinghamshire coal-mining district. That's what initially attracted me to the book -- the coal-mining setting. But, unlike the film "How Green Was My Valley" (saw it on TCM last week) very little time is spent on the coal miners and their daily grind. Instead, we are absorbed in Paul's tale, almost absorbed as Paul is in his young life. Nothing new for a coming-of-age tale. But Paul's mother has a smothering presence. She's not evil but has transferred her attentions from her nogoodnik husband to her sons. When eldest son William dies, Paul is left holding the bag. He is talented, too, a young man who loves to paint and who knows his poetry. He is not destined for the mines, but something greater, and his mother intends to help him along the way.

That's the "sons" part of the tale. The "lovers" are Paul's, the innocent Miriam and the worldly Clara. You'd think an artistic chap such as Paul would have fled his one-horse town for life in London or Paris. But his mother keeps him close to home into his twenties.

I admire Lawrence's skill as a novelist. It's as plain a plot as any in literature. Will the guy flee his mother? Will he get the girl? I admit that the first 100 pages were hard-going. The pace of a 104-year-old novel is slower, as were the times. Lawrence takes his time noticing his home town of Eastwood, renamed Bestwood in the book. The flowers of summer, dazzling sunsets, people's feelings. We get inside Paul's head as he tries to determine the course of his life. Sensual -- but not sexual -- scenes power the novel. And leads me to rethink my own writing, more influenced by Raymond Carver than Henry James. Minimalist. Funny thing is, Lawrence was shocking in his time. His books were banned and so were the paintings, which were labeled as part of the daring Expressionist movement.

One of these best sensual sequences is when Paul accompanies Clara to the theatre. She wears a daring frock (daring for the time, anyway). "The firmness and softness of her upright body could almost be felt as he looked at her." (page 360).

'And he was to sit all evening beside her beautiful naked arm, watching the strong throat rise from the strong chest, watching the breasts under the green stuff, the curve of her limbs in the tight dress."

Something is going on on the stage but Paul hardly noticed. Clara and her parts "were all that existed."

The priggish Paul is enraptured. The foreplay goes on for quite a few pages until Paul and Clara finally get together in her bed. Sort of.

It's instructive to notice the shift in perception from 1907 rural England to 2017. Today, foreplay takes many fewer than 200 pages. Two-hundred characters, sometimes.

I did not find any graphic sex scenes in the edition I read, issued by Barnes & Noble Classics. It was published in 2003, so the scenes initially cut from the novel and returned in 1993, should be in there. Just for kicks,

This brings us the issue of censorship. That novel you are reading -- what edition is it? Was it cut up into a more acceptable shape before being published? To return to Carver, I've read varying versions of his stories. Apparently, his editor Gordon Lish had his own vision of Carver's stories. In our modern era, how much editing should authors allow? How much should they do?

I have found a few of Lawrence's public domain stories on the Internet. I will read some, especially those written during and after the war. One of my motives for reading Lawrence is to get a feel of the era, which is the setting of my novel. I've read quite a bit of nonfiction about The Great War and its aftermath. In some ways, fiction can do a better job of recreating the era. Good examples abound. "All Quiet on the Western Front." "The Good Soldier Schweik." "Farewell to Arms." And there are the British war poets who had a great influence on how the war was perceived by other generations. Wilfred Owen and Siegfried Sassoon. "Dulce et Decorum Est.."

"Wintry Peacock" is a malevolent short story by Lawrence. While some of the wording is dated, its theme of betrayal is as current as today's headlines. Here was a writer not Flannery O'Connor who featured peacocks in a story. Lawrence portrays the peacocks as dumb as stumps, more dim than the Morel family, which is experiencing a drama of its own making.  His style reminds me of that of his friend, E.M. Forster. See "The Other Side of the Hedge."

That is what aging provides, some perspective of what came before. I had good schooling. I have been filling in its blanks for 50 years. Maybe that's one of the positive aspects of the love of books and reading and writing. University liberal arts majors are belittled and, at some schools, discontinued. But my knowledge of books powered a career and sustains me in my retirement. I continue to discover treasures of other ages.

I just started "Three Soldiers" by John Dos Passos, yet another complicated writer of the Lost Generation. The writer was an ambulance driver in the war. I bought a slightly-used 1921 edition of the book for four bucks at an estate sale of a veteran of another war. The book still has the sleeve that housed the borrowers' card at the Merced (Calif.) Free Library. A date stamp on the title page reads March 21, 1922.

I hold history in my hands. I read.

Denver Comic Con -- an unexpected place to find some good advice on literary fiction

Chris and I accompanied our Millennial daughter Annie to Denver Comic Con on Saturday.

"Accompanied" might be a bit of a stretch, since she ditched her Boomer parents as soon as it was feasible. This wasn't too hard as she already had her entrance ID so just got into the line surging toward the Colorado Convention Center. Chris had to find a shady spot to test her blood glucose levels while I searched for the "will call" window. I was on a mission to trade in my paper tickets for entrance badges. I walked around the entire Con Center which looks a bit like a starship at rest, one with a gigantic blue bear staring inside. It could be an alien bear, an anime bear, a bear that is also a shapeshifter, a perfect disguise for an "Aliens"-style alien, or one from "The Predator" series, or those rapacious aliens in "Independence Day" or "War of the Worlds."

The heat may have been getting to me. I kept yearning to be in the AC with a cool Brewt, the official beer of Comic Con from Breckenridge Brewery. But first, I had to crack the code that would let me inside. I located various long lines, none of which were the correct ones. I finally found the "will call" line when I saw others of the dispossessed using their paper tickets as fans. The line moved fast as it was mostly in the shade of one of the DCC's giant wings. Twenty minutes later, I had our badges and eventually located Chris and we finally were admitted to the inner sanctum.

I was unofficially the oldest person in the building. Even veteran actor Kate Mulgrew, whom we heard speak in the BellCo Theatre, is younger than me by a few years, if my arithmetic is correct. Captain Janeway has transformed herself into the dastardly prison den mother in "Orange is the New Black." Her Russian accent is pretty good, which may hold her in good stead with our new Overlord, Vlad Putin. Mulgrew is the oldest of eight in an Irish-Catholic family (I am the oldest of nine). That wasn't the only thing we had in common. She said that reading is the basis for success. She is working on her second book while ensconced in her house in Galway reading through the Irish masters: Joyce, Trevor, O'Brien. This summer, she is even tackling Proust, which earns her major brownie points in the literary world.

Janeway is still the only female captain in the long-running "Star Trek" series. She hears rumors that one of the top-ranking officers in the latest series (set to debut this fall) is female. But she is not the captain. Mulgrew is a big Hillary fan which automatically makes her a big non-fan of whatever alien life form now occupies the White House. That's as close as she got to politicking which, she said, speakers were warned to steer clear of. As if....

People watching was the best use of my time. So many cosplayers from so many different books and TV shows and movies. One person was dressed as the Lego captain. He must have been hot in there. Princess Leia continues to be popular, as are various Trek characters. Annie is a big "Doctor Who" fan and there were plenty of doctors and even a few Daleks. One of my faves was a hoodie-wearing Donnie Darko and the Big Scary Rabbit that haunts his life in the movie. We ran into some theatre friends from Cheyenne all costumed up, including two female Ghostbusters.

We lunched on soggy overpriced sandwiches. We went to one of the NASA panels that addressed "The Science of Star Trek." The speakers quizzed us on the feasibility of Trek items, including communicators, transporters and artificial intelligence. Communicators were an obvious yes but a big no on the molecule-rearranging transporter ever seeing the light of day. This dooms my dream of someday avoiding the drive from Cheyenne to Denver. I would trade the possibility of misplaced molecules with driving I-25 any day.

My day ended with an authors' track panel entitled "Start Short, Get Good." The five published panelists spoke of writing short stories as a way to break into the sci-fi lit world. Catherynne M. Valente, author of "The Orphan's Tales," said this: "It's always been a hustle to get short fiction published." And this: "It's a struggle to get people to read short stories who also are not aspiring writers." As a test, she had audience members raise their hands who read short stories -- the majority of us complied. Then she asks for a show of hands of aspiring writers -- many raised hands. That got a laugh.

This continues a theme that I have heard for decades at everything from national AWP conferences to Wyoming Writers, Inc., conferences to book festivals. The question is: Are you buying and reading the work of the authors you like? That patronage is crucial to the survival of small presses and literary magazines.

Michael Poore ("Up Jumps the Devil") spoke up for the survival of these small markets. He said that he publishes some of his "character-driven stuff" in the literary markets.

"Genre fiction has lots of rules," Poore said. "In a literary story, you can get away with more. People tell me that they read my stories but don't like stories that don't end."

That sounds like a great description if literary fiction -- stories that don't end. I remember my insurance salesman uncle saying that he liked my first book of stories but was surprised that they had no end. Slice of life. Minimalism. Whatever term you use, it's shorthand for literary fiction which doesn't always coexist with genre fiction. Poore, on the other hand, seems to live in both worlds. He has published stories in some of the best litmags (Agni, Glimmer Train, Fiction) and sci-fi mags such as Asimov's. His story "The Street of the House of the Sun," was selected for The Year's Best Nonrequired Reading 2012, edited by Dave Eggers.

So, by the end of the day, I at last has found my tribe. These panelists face the same challenges I do, which warmed the cockles of my heart and made me very, very thirsty.

I went in search of Brewt.