Milosz died in 2004 in Krakow. He’d gone full circle, a least geographically speaking. Born in Lithuania in 1911, on the run during WWII in Warsaw, to Soviet era Poland, exiled again to Paris, and then to Berkeley, California in 1960 where he lived most of the rest of his life.
Buying a copy of Selected Poems 1931-2003 at Powell’s Books and hearing Robert Hass talk about him at a Seattle Arts and Lectures reading started me down the road to realizing what a great poet Milosz is. Most recently reading Facing the River (Ecco Press, 1995). It’s grounded in Milosz return to Lithuania fifty years after he left. The book like all Milosz’ work was written in Polish, translated in this case by the author and Robert Hass. What a great translation, just from the point of view of what great poems these are in English!
I have at various times subscribed to book clubs, record clubs, magazines, and newspapers. My current subscriptions include the latter two, a music streaming service, and a video learning service, but that’s basically it. Software subscription models, Adobe’s and Microsoft’s, have turned me to open source software and freeware because I don’t think the value proposition makes sense for software. You could call Internet, TV, or phone services a subscription but they’re in the utilities column of my spreadsheet.
And now books are offered as subscriptions by Scribd, Oyster, Amazon, and others, but, again, I just don’t see the value proposition. I read maybe five books a month, typically, sometimes ebooks but mostly print. I read novels (mostly sci-fi and “literary,” whatever that means), poetry, and non-fiction of various kinds, mainly history and technology. I did a quick survey of Scribd and Oyster and found only half of the last ten books I’ve read. As usual with Amazon, who knows what’s available? You can Browse Kindle Unlimited but I see no way to search it.
Fobbit by David Abrams (Black Cat, a paperback original imprint of Grove/Atlantic, Inc., New York)
It’s particularly hard reading this book in the summer of 2014 two years after it was published. The disastrous events of the last few months in Iraq, the invasion of Iraq by extremists from Syria allied with various groups in Iraq, the inadequate response of the Iraqi government left behind by the American withdrawal, and the hesitant response of the rest of the world make it painful to hear that the American invasion of Iraq was a tragic mistake both for Americans and the Iraqis. The thing Abrams does admirably is bring that politically loaded assessment down to a visceral, tragicomic personal level through an assortment of characters, mainly support personnel (“fobbits” in the lingo of the war), who are less than endearing very real people.
American novelists, journalists, and poets at least since Stephen Crane have always been the most effective truth tellers about war. The most obvious comparison to Fobbit is Catch-22. One of the characters in Fobbit, Gooding, reads Catch-22 while on R&R in Dubai. The “chapters based on characters” approach is reminiscent of Heller’s book, and the mix of absurdity and blood and guts has similar effect to some extent. I suppose you could compare (spoiler alert) what happens to Snowden in the bomber with what happens to Shrinkle in the Aussie’s pool in Baghdad but this is no copycat novel.
The Tedeschi Trucks Band is a Cadillac of a rhythm and blues band. They’ve got dual chrome exhausts (two drummers), a big V8 engine (guitarist Derek Trucks), style and beauty (Susan Tedeschi), and all the accessories (a horn section, a keyboardist, and a second vocalist). At their Marymoor Park show in Redmond, Washington last week this was all on display but they just didn’t seem be hitting on all cylinders for much of the show. No doubt Derek Trucks really revved it up a few times and Susan Tedeschi’s encore presentation of John Prine’s great song “Angel from Montgomery” was tender and moving. They worked hard. There just wasn’t an edge to it.
You could say Jack McDevitt is a bit of an old school science fiction writer. Space is the place. Spaceships are the mode of transport. Larger than life heroes and heroines save the day in a future that cannot possibly be the outcome of today’s society, though that future reflects all sorts of extrapolations upon and imaginings of the ideas we hold dearest. In short, he’s a philosophical novelist. But wait! Not really. His characters fall in love, throw up, and bleed. They’re real people, not Hollywood set pieces.
First time I heard Rollins was late in his career (1970’s) at the Longhorn Bar in Minneapolis. I was sitting on the aisle in a long horizontal room (this was upstairs before the downstairs rock and roll room). His band was getting set up. Then from the back of the room came this blast of tenor madness and here comes Sonny dancing down the aisle playing–singing I think is a better word for his playing. I turned around and there is he was, just puttin’ it right in my ears. Unforgettable moment. And here he is, still with us, still singing.
He just released Road Shows Volume 3. Wonderful collection. My understanding is that these discs are taken from his personal archive. This one spans performances 2001-2012 in Japan, France, and St. Louis. My favorite tune is the Noel Coward song “Someday I’ll Find You” recorded 2006 in Toulouse with some stalwarts of his band over the years, guitarist Bobby Broom among others. Saw a show at the Whole Coffeehouse at University of Minnesota if I remember correctly, again Sonny in the ‘70s, where I got Broomed. Bob Cranshaw, bass. Clifton Anderson, trombone, one of the great modern trombone players. Victor Lewis, drums. Others on various cuts. All three of these albums are moon shots, great recordings of one of the best live performers in Jazz history.
My musical tastes have always developed in a series of waves. The first wave for me was the British invasion, though my Dad liked country music and that’s always lurking somewhere in my neural network. The second wave was the folk revival of the sixties followed by the aftershock of “folk rock,” an odd label, an oxymoron at best, a marketing/critical strategy otherwise. I first heard Emmylou Harris in that aftershock I guess singing with Gram Parsons. That was awhile ago (early ‘70s) and she’s come a long way since then. She described it in an interview (now on YouTube) as zigging and zagging and that’s kind of of what Emmylou live was like Sunday night, June 22, 2014, at Chateau Ste. Michelle Winery in Woodinville, WA.