The Influence of the Beatles on Impressionable Children

Here’s Rocky Raccoon in the wild.

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Fireworks, Lightning, Stardust

At the annual fireworks show over Lake Deweese in Custer County, Colorado, a terrific lightning show unfolded behind the mountains, with constant lightning & thunder for over two hours. The storm clouds were low and above them, a perfectly clear sky, sparkling with the Milky Way stardust.

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On Custer's Penis and Sitting Bull's Bloody Arms

So I feel Richard Brautigan’s (1935-1984, R.I.P.) ghost hovering over me this cool Colorado morning, on this July 4th, while reading about a battle in Montana in 1876, perhaps a mythic, blood-stained centennial. He lived and wrote late in his life outside Livingston, Montana, and is one of our under-appreciated writers. So the Wind Won’t Blow It All Away (1982) and Willard and His Blowing Trophies (1975) are both little classics. Some of his poetry is knockout, too, especially the Donner Party poem. He’s good with one liners, as in, “All of us have a place in history. Mine is clouds.”
On the plains east of Brautigan’s writing home of the 1970s, Custer made his last charge, and they share a common love of long hair and funny hats. Nathaniel Philbrick’s The Last Stand has some juicy tidbits about the Little Bighorn, if you’re a morbid-onlooker like myself. Although not reported at the time, so as not to upset his wife, when Custer’s body was discovered on Last Stand Hill, his penis had an arrow jammed up it. (Lucky shot.) Philbrick describes Sitting Bull’s Sun Dance ceremony where he gouged 50 pieces of skin from both arms and was covered in blood, passed out in the Sun Dance lodge, when he received a vision that foretold a victory over the 7th Cavalry. (Lucky dream.)

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Summer of the Beatles and the Caterpillars

So this summer I’ve been turning my daughter on to the Beatles, meanwhile rediscovering how great they were, taking me back. I was a child when “Let It Be” was on the AM radio airwaves and I remember it as no less than the greatest pop song of all time. In college in the Seventies I pretty much memorized the Beatles songs, even while other bands came and went in popularity. Now I’m listening to Revolver, Rubber Soul, Abbey Road, the White Album, Let It Be, and Sergeant Peppers. Every day I get hooked on a new old song. Today it was “Across the Universe,” jai guru deva om. What a beginning:
Words are flying out like
endless rain into a paper cup
They slither while they pass
They slip away across the universe
Pools of sorrow waves of joy
are drifting thorough my open mind
Possessing and caressing me
What impresses me now, all these four decades later, is how absurd and inventive they are. Plenty of love songs, many titled with female names: Julia, Prudence, Martha. But over and over again they turn the pop clichés on their heads and spin them around. When I queue up “Let It Be” and “Two of Us” comes on, my three-year-old Lili’s face lights up with smile and she starts nodding to the tune. Her favorites are on the White Album, particularly “Bungalow Bill” and “Rocky Raccoon.”
Meanwhile we  have a caterpillar barn of sorts, with Monarch butterfly caterpillars just now going into chrysalis. Hence it’s the summer of Beatles and caterpillars.

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On Nathaniel Philbrick's "The Last Stand," in Memory of George Armstrong Custer

Writing a book about Custer’s Last Stand is a bit tricky, considering you have stiff competition from Evan S. Connell’s masterpiece Son of the Morning Star (1986), but Nathaniel Philbrick’s new book, The Last Stand, just published, is an immediate hit. He emphasizes the Native American side of the story even more so than Connell, and is more critical of Frederick Benteen, who was one of the surviving officers of the other battalions at the Little Bighorn. He also contrasts Custer’s life story with Sitting Bull’s, his Native counterpart and victor. I’m a sucker for Custer stories, and have a badass character in my new novel by the name of George Armstrong Crowfoot, who is a mix of both traditions. He’s based on a Lakota dude I knew years ago, a truly scary bouncer, six foot four tall, totally neurotic, who would wear a T-shirt with the legend Custer Had It Coming below a bloody tomahawk.

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Review of Nic Pizzolatto's "Galveston," a Knockout Crime Novel

I was camping in the mountains west of Cottonwood Pass, Colorado this weekend, but on Sunday the following review of mine appeared in the Dallas Morning News: http://www.dallasnews.com/sharedcontent/dws/ent/books/stories/DN-bk_galveston_0620gd.ART.State.Bulldog.2951729.html
Galveston is a terrific book, and whenever I get a chance I’m going to check out Nic Pizzolatto’s short stories too. The people are hopeless and down on their luck, but I’m not one to demand that all fictional characters be ‘likable,’ ugh. That policy produces a ton of squishy, psuedoromantic stories, full of luminous endings and assorted treacle. Roy Cady, the antihero of Galveston, is a bad dude. His heart may have some gold in it, but it’s tarnished at best. The scene where he goes to visit an old girlfriend who has gone ‘straight’ is intense and menacing. My only quibble with the description of Galveston, Texas, where I lived in early childhood and near where I was born (Texas City), is that it sugarcoats the Gulf there: At one point he refers to the Gulf as ‘blue,’ and unfortunately, the water there is a light brown color, like latte, like the Mississippi River silt that colors it. But that’s not a big deal. The rest of the description of Galveston and New Orleans seems right on, if on the bleak side.

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Daniel Woodrell's "Winter's Bone" Film Out and About

I’ve blogged before about Daniel Woodrell’s novel Winter’s Bone (2006): There’s a review today in the NY Times of the film version, which sounds good, gets glowing praise: http://movies.nytimes.com/2010/06/11/movies/11winter.html?hpw. And being an indie film, this review is just the kind of attention it needs. The novel is haunting, brutal, and eye-opening: Some Americans tend to think of the whole country as a vast, cellphone-obsessed shopping mall. This is a mainly a TV media creation. Go to the corners and you’ll see something more interesting. Take where I live in Custer County, Colorado: the other day coming home from town we watched an elk chasing a coyote through the meadows, probably trying to scare it away from its calf. My small town is quite different than the hillbilly world of Winter’s Bone, much more charm and less depression. This week I spent several hours at the local park with my baby girl, watching a crowd of kids laughing and running, with a skyline of 14,000 foot Rockie mountains as a backdrop.

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Coen Brothers's "A Serious Man" Trumps Michael Chabon's Nostrums

So did many people read this Op-Ed by Michael Chabon in the New York Times last weekend? http://www.nytimes.com/2010/06/06/opinion/06chabon.html?pagewanted=1&hp
I like Chabon’s fiction, though I usually don’t go out of my way to read it. He often comes across as rather glib and light. Here I think he seems awfully smug. The Coen Brothers’s A Serious Man addresses some of the same issues of Jewishness, only without the smug patina covering all. It’s my favorite film of the last few years. Uncle Arthur’s monologue by the empty swimming pool is heartbreaking, classic. And the son adds bathos when needed: “Dad? F-Troop is still fuzzy.”

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On John Hillcoat's Film Version of Cormac McCarthy's "The Road"

So it took me a while to get around to watching The Road (2009), partly because I knew it would be a grim experience. The novel is one of the few books that count as a masterpiece of the 21st century, hopefully not prophetic. The film has its moments: the cinematography is moody and artsy, and at times the devastated world is beautiful in a horrific way, even if McCarthy’s description is much better. Both Viggo Mortensen and the boy actor (Kodi Smit-McPhee) are convincing, especially the boy, in moments when’s meant to be terrified. And perhaps I’m too much of a purist, but the few times when Hillcoat swerves from the novel all seem clumsy. 1) The New Family: This comes at the end. I had to recheck the text to see if I’d remembered it wrong, because in the film the mother in the final moments says something like, “We’ve been following you all along.” It goes back to the moment early in the novel when the boy says he sees another child, which you can’t really tell if it’s real or imagined. In the novel it’s definitely real. Logistically, this doesn’t make much sense. Somehow they’re walking through this bleak landscape, with no other people but the marauding cannibals now and then, and they don’t notice the family of four behind them? 2) There’s an awful moment when father/son stumble upon (it happens very quickly) a mother/son being attacked and killed/raped by the cannibals. This supplants the roasted-baby moment of the novel, which doesn’t appear in the film. But it seems clumsy and, again, logistically unlikely. It somehow violates the internal logic of the novel/film. Plus it’s straight out of The Road Warrior (1981), which is itself clumsy. 3) The dungeon scene, where father/son come upon the people being kept as food, is much longer and more detailed. It also doesn’t make much sense. In the novel you know the father looks inside the trapdoor for food, but in this version he goes through a series of rooms, with the boy, before they come upon the food-slave people, who then claw and scratch at them.
My verdict? If I didn’t know the novel so well, I’d probably rank it as a pretty good horror film. But that’s not what the novel is, at all. Part of me likes this: Film may have become the dominant medium now, but novels can still trump films for certain effects, such as philosophical mayhem.
Here’s a url to a good review of the film. I don’t agree with all of it, but I like it nonetheless:
http://www.brightlightsfilm.com/67/67theroad.php

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In Moab, Utah: Where Dinosaurs Sleep

A full moon hung in the sky over Moab, Utah the other night, framed by a few puffy, cartoon clouds. We’d spent the day looking at dinosaur tracks. My daughter, Lili, looked up and said that dinosaurs were sleeping in the clouds. “They use the trees for blankets,” she said. My little poet.

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