New York City
Close To Home: Finding Art Spiegelman's Maus House
by Levi Asher on Monday, January 9, 2006 10:45 pm
I have a lot of respect for Art Spiegelman, a manic-depressive comic strip artist and writer who holds nothing back from his craft. In the great self-effacing tradition of Robert Crumb, a Spiegelman comic is always "too much information", splattering personal urges and anxieties and weird notions around like a loose garden hose. But the best confessional comix artists have the artistry and wit to make the splatter beautiful. Spiegelman's graphical autobiography promises to be a deeply personal document, and it's off to a great start with the first two sections.
One reason I relate to Art Spiegelman is that he grew up about three and a half blocks from where I live now, in sunny Rego Park, Queens. I know this because Spiegelman drew a map of his street as part of the back cover of his signature work, Maus. Maus is the terribly sad and odd true story of Spiegelman's parents (who could have been role models for George Costanza's parents in Seinfeld, except reality beats fiction). Both were holocaust survivors, but Spiegelman's father adopted an infuriatingly contrary, almost cheerful tone about the experience, which apparently taught him important survival skills (but also made him cruel to women, emotionally dense with his son and generally crazy). Spiegelman's mother, on the other hand, never recovered from the shock of the camps. She committed suicide when Spiegelman was a young man. He had been recently released from a mental hospital when he walked home one day to find police cars outside his house. This was how he found out about his mother's suicide.
More Quick Ones
by Levi Asher on Thursday, December 15, 2005 10:06 amOther useful literary round-ups from around the web: the Elegant Variations's 2005 Notables and Ready Steady Books' Best of the Year 2005. The litcup runneth over.
2. Revered playwright Sam Shepard will be making an unusual musical appearance with his son Walker and 60's urban folkie Peter Stampfel at the Bowery Poetry Club this Friday.
Joe Gould and Siddhartha: Ascetic Film Festival
by Levi Asher on Friday, November 11, 2005 04:24 pm1. Joe Gould's Secret is a gentle, talky New York City bohemian flick about a homeless writer who wandered the pubs and alleys of Manhattan for years claiming to be writing an epic history of the world. His wit and sincerity were noticed by other New Yorkers, and eventually a group of publishers attempted to evaluate his book for publication, effectively calling his bluff, as there was no book to publish.
That's all the plot this movie's got, but in the tradition of My Dinner With Andre, the movie gets by on rarified air and is a pleasure to watch. This is mainly to the credit of its two lead performers. Ian Holm is the writer, a mumbling and entirely believable crochety nervous crank who recalls real streetwise shaggy-haired poets from Gregory Corso to Charles Plymell to Paul Verlaine. Holm gets to play off the remarkable Stanley Tucci, who I first noticed several years ago in a commercial film version of "A Midsummer Night's Dream". Tucci played Puck, improbably (since he is a balding adult male) but quite well, and was the best thing about this mediocre Shakespeare interpretation. He proves his skill again here as a well-meaning staff writer at the New Yorker who befriends the homeless author (Tucci also directed the film). There is a compelling depth to his every expression; Tucci plays straight man to Holm's clown, and somehow steals the show. Drawn in by the scent of good acting, Steve Martin even pops in for a bit spot as a high-powered book editor.
2. Siddhartha is a little-known but extremely watchable film version of Hermann Hesse's much more well-known book about a young religious quester who lived in India during the time of Buddha. I loved the book when I first read it decades ago, and I was recently surprised to learn a film version had been released in 1972. The photography is lush and moody, the acting is subtle, and the storyline is mainly true to Hesse's book. The most compelling thing about this story, in my opinion, is the depiction of a religious ascetic's middle years, when despite his "enlightenment" he gradually finds himself succumbing to the disappointing but inevitable urges of a normal human being. Even a mature buddha-in-training can find himself on the wrong road, and that's what gives this story its pointed honesty.
Neither of these films are in theatres right now, and you probably won't find either of them on the shelves at Blockbuster Video either. But if you find yourself awake at 4 am flicking through indie film cable channels, you may be lucky enough to catch one or both of these worthy films about the lives of ascetics surviving in the real world.
Go Ahead Punk, Make My Day
by Caryn Thurman on Monday, July 18, 2005 05:14 pmSince Levi's been reading Richard Hell and Johnny Temple's letting us all in on his punk indie publishing philosophy over at The Book Standard, it seems like a good time to let you know about another important punk literary event, the opening of CBGBs: A Place that Matters, a collection of statements and photographs of and by musicians. The collection will be on exhibit today through Wednesday, September 14, 2005 at Urban Center Gallery, 457 Madison Avenue at 51st St in NYC. The opening coincides with a reception and book signing for CBGB and OMFUG: Thirty Years from the Home of Underground Rock.
A Story Without a Moral, A Day in Dust
by Levi Asher on Friday, March 7, 2003 12:32 pmFor months before September 11, 2001, the date had already been a significant one for me. This was the projected release date for Bob Dylan's new album, "Love and Theft", and I was the technical director of Dylan's official website, BobDylan.com. Since mid-summer, we had been planning to launch a brand new version of his website on that Tuesday.
I am a very experienced web designer and Java programmer, but I sometimes let deadlines get too close. By the last week of August, the project was going badly and I was starting to worry that I was in over my head. I was responsible for programming some new interactive features for the website, including a new community area devoted to Bob Dylan and a search engine for his lyrics. Two weeks before launch date, the message board installation was a mess, I couldn't get the search engine to work, and I was starting to panic.
My business partner, Dan, had been expecting a full working preview of the site on September 7. It wasn't ready, but I didn't want him to know how far behind I was, so I started avoiding his calls. My kids stay with me on weekends, so I got almost no work done Saturday or Sunday. I brought them back to my ex-wife early on Sunday, and began digging in for an all-nighter. I spent Sunday evening staring in dismay at oblique error messages, wondering what would happen if Tuesday rolled around and the site was still not ready. The "bobdylan.com" URL was going to appear on the CD's liner notes, and Sony Music was certainly not going to hold off the release of the CD because Levi Asher was getting Java runtime errors. I felt like I was facing one of the worst and most visible deadline fuckups of my life.
On Monday morning, September 10, I finally had a breakthrough and solved the error that had been plaguing the system. But I now had a ridiculous amount of catchup design work to do before the site could be launched. Monday the 10th was a no-leave-the-apartment day, a caffiene frenzy, eat-with-one-hand and type-with-the-other day. By the time midnight rolled around, it was Tuesday and I was officially late. I IM'd Dan to hang in there, because I was almost ready to launch. He told me to keep working, and said he'd check in with me in the morning. I plugged and plugged away, and by 4 a.m. on the morning of September 11 the site seemed to be operating. Except that I was too exhausted to be able to tell if it was really working or not. I had a long list of corrections I still needed to work on -- broken graphics, typos, bad links -- but there was no way I could apply my brain to them now. The site was live, and I decided to get a few hours sleep before I got back to work. I set my alarm clock for 8 am, left my computer running, and lay back on my bed to fall asleep.
I woke up at 8 a.m., feeling tremendously good. The site hadn't crashed during my four hours of sleep, which felt like a minor miracle. I wandered into the kitchen, half tired but energized by the fact that I had managed to just barely hit the deadline, and made coffee. I usually read the Times in the morning but today I had to shut out the world and get right to work. I brought my cup of coffee back to my desk and put a shuffle mode of three Dylan CD's into my cd player (I like to listen to Dylan in shuffle-mode when I work on his website). I picked up my hand-scribbled list of final changes and corrections, most of them cosmetic items of the time-consuming but not mentally-challenging variety, and started tearing through them one by one. I felt totally "in the zone".
My TV was off, and I'd also left my IM window off because I didn't want Dan to pop on and find out how many errors I was still fixing. If he asked, I'd have to be honest and tell him, but if he didn't ask, I figured it was unlikely he'd find them all himself. Since I was using my apartment's single phone line for my dial-up internet connection, I was completely cut off from the outside world.
My small Manhattan one-bedroom was on the sixth floor of an old converted hotel on 47th Street between 6th and 7th, above a cheap Turkish restaurant and next door to the Palace Theatre. I usually heard a lot of street sounds -- cabs honking, panhandlers panhandling, tourists talking -- and I heard nothing unusual this morning. I pounded away on my bugs list, enjoying my shuffle-mode, completely oblivious to what was going on in the city outside my window. At 8:47, I might have been listening to "On A Night Like This" from "Planet Waves". At 9:03, maybe I was listening to "What Good Am I?" from "Oh Mercy". At 9:38, it could have been "New Pony" from "Street-Legal". I worked and worked. By 10:30 the site was looking pretty good and I started my final review of all the pages to make sure it was all good. At 11 I was ready to tell Dan that the site, as far as I could see, was in perfect condition. I knew he would be waiting for me online, so I popped up my IM window to tell him the good news. But Dan wasn't on IM. Instead, two friends quickly greeted me with the same message: "Are you okay?"
I didn't expect my friends to be so concerned about my Dylan deadline. I wrote back "Sure" to one of them, and asked the other one "Yeah -- why not?". The second friend replied, "Don't be funny with me". I replied "What's going on?", grabbed my zapper and turned on CNN. I saw something about the Pentagon on fire. Then I heard something about airplanes hitting the World Trade Center. Since the towers are visible in the distance from my street corner, I IM'd "I'll be right back" to both of my friends, logged off, and scrambled to put my shoes on, intending to go outside and see what was going on. By logging off I had freed my phone line, and at that very moment my phone rang. It was my friend Lauren, who worked at an advertising agency a few blocks from where I lived. "I'm right downstairs," she said. I said "What's going on?" I told her I'd meet her outside, threw some clothes on and left.
Lauren began filling me in, but I couldn't comprehend what she was saying. She said that both towers had collapsed. "Collapsed?" I said. "What do you mean, collapsed?" There was no such thing. We were in the street, and we walked to the busy corner of 47th and Broadway, the TKTS booth corner, where we saw a strange site: a bunch of people had climbed into the back of a large truck and were standing up in the trailer as somebody rolled the back door closed on them. Where were they going? When do you ever see people standing up in the trailer of a truck and driving away? "What the fuck is going on?" I said. Lauren had trouble understanding that I was really completely in the dark, that I was the only one in New York City, or maybe the only one in the world, who had not seen it on TV or heard it on the radio. She started explaining but I kept questioning her. She described the TV footage of the airplane crashing into the south tower, and demonstrated to me with her hands how it had sliced right through the walls. My only reaction was denial. It didn't seem believable, and I made her repeat her words several times.
We had instinctively begun walking south, towards the towers. "Where are we going?" she asked. My only instinct was to go down there, to see how we could help. As we walked I got my first glimpse -- since I hadn't seen it on the news -- of the gigantic cloud of pure white smoke that hung lazily over the southern tip of Manhattan island. The cloud seemed to encompass the towers, and was easily as tall, so that it was easy for me to believe that the towers were still somehow there, inside that gentle ball of smoke. I had an image in my mind of towers with broken tops, a few floors fallen in.
Many New Yorkers who remember this day talk about how beautiful the weather was. What they say is true. It was a perfect and rare September day, the sky blue as a painting, the air crisp and pleasingly cool with just a touch of a warm, welcoming breeze. There was no chaos around us, just a lot of dazed faces of Times Square tourists and regulars, and a few scenes of confused attempts to organize relief efforts (like that truck bizarrely filled with people). It was impossible to connect the scene of normality around me with the words Lauren was saying. We kept walking.
Lauren was dressed for a day at work -- a flowered white dress and high-heeled shoes. She asked again "Where are we going?" I answered that, naturally, I wanted to go to the towers. She said this was a bad idea and suggested we stop in at a bar or restaurant to watch what was happening on TV. I stubbornly insisted that we keep walking. The World Trade Center was about 80 blocks away, but I knew that the West Side Highway promenade would get us there fast without stopping for street traffic, and I led Lauren westward towards the highway.
Streams of people were on the West Side promenade. A few, like us, were walking towards the round white cloud of smoke, but many more were walking away from it. Lauren suggested that this was probably a hint that we should take, but I wouldn't listen. As we walked I made her tell me yet again what she had seen on the TV news. She had only watched it from a storefront window after leaving work and wandering the streets, so her knowledge was limited. She had no idea who was believed to be responsible. There were no well-known enemies of the USA, at least as far as we knew on that morning.
I tried to use my cell phone to call my ex-wife in Queens to check in with the kids. The calls wouldn't go through. We walked on, and around 23rd Street we saw a sight that made us begin to realize what exactly we were were walking towards. It was a burly, older fireman in full uniform, completely covered in dust and dirt. His face was streaked, his hair and walrus moustache caked in gray ash. He was walking quickly uptown, and did not look like he wanted anybody to say a word to him. Lauren and I looked at each other. This was really happening.
We began to ponder how many deaths might have taken place. We discussed the horrific idea of airplanes full of passengers smashing into buildings, and what this must have been like for the innocent victims. We talked with some relief about the fact that many New Yorkers typically arrive at work a few minutes late, so that most offices would not have been even half full by 9 in the morning. Neither Lauren nor I had friends who worked in the towers, so we did not feel the personal agony of fear that many other New Yorkers were feeling that morning. I told her as we walked about the one time I had gone to a business meeting in one of the towers. I had been working for a banking software company and we'd been on a sales call to Fuji Bank. I told her about the incredible cleanliness of the Fuji Bank offices, the rock-garden Japanese perfection, so unlike offices of American banks, which tended to look professional but hectic. I remembered the faces of the two Japanese businessmen we had met with. It had been the only time in my life I had ever been called upon to execute a polite Japanese bow, which I remember I only performed very slightly and without much enthusiasm -- bowing is not my style. I had also been instructed to carefully study each business card I received, instead of shoving it carelessly into my pocket as Americans do with each other's business cards.
We reached the Chelsea Piers, where a sports center had recently opened and where I often took my kids for golf swings or batting practice. We asked a parking lot owner if we could use a restroom and he let us in. Everybody we talked to had a look in their eyes that I could only describe as crazed calm. We were crazed because of what was happening, but we were calm because we knew that we were not the victims, we were the observers, and that it would not be helpful for any of us to require attention when others needed it more. I guess you could say the crazed aspect was real, the calm aspect necessary.
I kept dialing my ex-wife and kids but couldn't get through. Around Franklin Street, only about ten blocks north of the Trade Center, I finally got through to my 10 year old son. He was confused, hyper, not upset or scared but definitely shocked. I asked him what the TV news was saying and he said something about Afghanistan being responsible. It was a shaky phone connection and we were cut off after about thirty seconds.
At Franklin Street we were looking directly up at the enormous white cloud, close enough to see a haze of tan dust hanging over the ground directly in front of us. We now were regularly seeing pedestrians with their skin and clothes covered in this tan dust, the same kind of dust that had covered the fireman walking north on the West Side Highway. A police van was blocking off pedestrians to allow emergency vehicles to get through, and it was clear that we could not walk any further down this street. We were in front of the Tribeca Grand Hotel, and a deli was open on the opposite corner. We went in but realized there was nothing either of us could think of eating or drinking, so we stepped back outside. At the southern corner near the police van, a few people were organizing an impromptu volunteer's brigade. But there were about fifty people wanting to volunteer, and nobody apparently needing their help. Days later, we would hear about the vast waves of medical emergency volunteers who were at this moment rushing into Manhattan from all over New Jersey, Long Island, upstate New York and Connecticut, bringing with them the best medical equipment in the world, only to find out that there were no survivors to save.
Lauren and I stood with the volunteer brigade for a minute or two. But it seemed pointless, and I wanted to keep walking. I don't know why I was so insistent on going directly to the site of the disaster, except that this was my city, these were buildings I knew intimately, and like many New Yorkers, walking is what I do when I'm not standing still. It wasn't that I had any reason to continue; it was more like I had no reason not to. Lauren didn't want to go any further and considered going back alone to her apartment in Greenwich Village, not far from where we were standing now, but she begrudgingly agreed to keep walking with me, for no reason that either of us could explain.
I used to work on Wall Street in lower Manhattan, and knew every street of this dense and ancient neighborhood. Downtown Manhattan was the original site of New York City itself (midtown Manhattan, with its Empire State Building and Rockefeller Center and Times Square, was a later creation), and most of the streets, unlike the broad boulevards of midtown, were tight and crooked. We circled southeast, towards the Brooklyn Bridge and the old Five Points area. We crossed Mulberry Street and stopped at a Church in Chinatown where the neighborhood residents had set up a relief center for victims. We saw quite a few people covered in dust who had obviously been in or near the towers when the airplanes had hit. We stopped to listen to one young Hispanic man tell the story, in a feverish but steady voice, of how he had walked down the south tower's stairs to safety. He wore a white shirt, covered with dust, and his tie hung loosely around his collar. An impromptu crowd had gathered to listen to him.
Fulton Street, near the entrance to South Street Seaport, was where the dust cloud began. Lauren, who is a professional singer (she had been a member of the popular 80's band "The Washing ton Squares" and still performs torch songs in nightclubs), said there was no way she was going to breathe that dust. Irrationally, I told her that we could not stop. I now think back about my actions and realize they made no sense, but somehow I convinced Lauren to keep walking with me, and we stepped into the tan haze.
A few others were also wandering aimlessly on these deserted streets. Many of them held napkins or handkerchiefs in front of their mouths, and Lauren briefly did the same before she decided it wasn't worth the bother. We walked through the tan haze down Pearl Street, a wide and modern avenue on the east side of Manhattan's southern tip. On both sides of Pearl Street were parked cars literally caked in fallen dust, about half an inch thick. I scooped up some of the dust with my hand and examined it. It seemed to be a mixture of two substances -- a woolly fiberglass and a fine, moist powder. Everywhere you scooped it up, it seemed to have the same odd composition of these two substances.
Improbably, a corner deli was open on Pearl Street, and we walked inside to got a break from the air outside. About a dozen people were gathered there, all with the same poignant faces -- crazed calm -- that we had been seeing all day. I bought a Tigers Milk bar from the sad-looking young Asian man at the cash register, who managed a calm and polite smile.
We walked on, down Pearl Street. We made a right turn onto Wall Street, the street where I had worked for two and a half years as a computer programmer at JP Morgan. By the time I'd left Wall Street to become a "Silicon Alley" dot-commer in midtown, I'd hated the bureaucratic, Dilbert-like job with a passion, and up until this moment I still regarded Wall Street and the whole financial-oriented downtown neighborhood with some amount of derision and contempt. Now, this famous street was transformed into a scene from the planet Mars. The dust covered everything. We were now closer to the site of the towers, and papers and debris fluttered in the breeze around us. I picked up a few pieces of paper, financial documents and import records, burned neatly at the edges. I found a manila folder and placed the papers inside (I still have these papers as my only relic of the day). Outside the classical-columned Citibank building I picked up a women's high-heeled shoe. "Do you think this came off somebody?" I asked Lauren, trying to wrap my brain around the horrible thought that the owner of the shoes had just died. Lauren told me that women often kept extra shoes in their desk, so maybe the worst hadn't happened to the shoe's owner. Or, we both thought, maybe it had.
We walked by JP Morgan's front doors at 60 Wall Street, the brass revolving doors I used to use every day. The company and the building I had until recently hated now seemed beaten, buried, lost. For the first time since I'd left the job years ago, I felt affection for the building. I also remembered how, at the old JP Morgan building on the corner of Wall and Broad Street, there were pockmarks visible in the wall from a 1930's anarchist bomber. It seemed relevant now to look at these pockmarks, and I guided Lauren to them and pointed them out -- part of the standard Levi Asher tour of New York City history trivia, now covered in the dust of a different kind of anarchy.
Alongside other pedestrians at the unreal corner of Wall Street and Broad Street, we stood helplessly, wondering what to do next. There was a peaceful silence in the air, and still that beautiful clear blue sky visible over our heads, above the cloud of dust. We now stood very close to the Trade Center site, but emergency vehicles were blocking our way on the corner of Wall Street and Broadway, so I led Lauren south on Broad Street. We exited the dust cloud temporarily on Water Street, and were glad to breathe fresh air again. Lauren had by now tired of asking me if we could turn back. We walked on, into the quaint small Battery Park at the very southern tip of the city. We had now completely circled the site of the disaster, and because we were at the southern tip of Manhattan there were no emergency vehicles or roadblocks cutting off our access. We only had to re-enter the dust haze and walk north through Battery Park to reach the site itself.
I'm not sure if we walked up Greenwich Street or West Street. I only remember the horror as we stepped closer to the site itself and finally stopped at a scene that looked like the scene that is now memorialized in many photos: dust-blanketed firemen working in teams, lugging hoses, lifting, moving, organizing, calling to each other for help, their stern and sad faces overwhelmed. We stood and stared in horrible awe. Clearly we were too close to the activity, and we weren't helping anything by standing there looking, but nobody was going to pause to tell us to go away. Cars were overturned and violently crushed on all sides. We were now so close to the white cloud of smoke that I could see details inside it, and I finally studied it enough to see what I had been unable to see all afternoon. On the south corner, barely visible through the white smoke, stood the outline of the broken skeleton of the south tower. Or at least I think that's what it was. Later I would try to return to this same corner and try to figure out what I might have been looking at. Maybe it was the wall of the fallen Marriot Hotel. I'm not sure, but I know that it was only at this moment that I understood what Lauren had meant when she said that the towers had collapsed. In retrospect, I'm sure this sounds stupid. But I hadn't seen it on TV and I had been unwilling to comprehend. I now stared directly into the white cloud and realized there were no buildings left, just air, wisps of breeze merging with the thick white smoke.
I don't know why we decided to step away from this primal scene. I guess it was too much to take. We both needed to breathe fresh air, and we walked westward into the Battery Park City complex. I was pretty much in shock at what I had only now begun to understand. As soon as we reached the Hudson River waterfront, a policeman stepped politely up to us. "We're evacuating," he said, and asked us to walk down the riverfront walkway to where an old tugboat was loading passengers.
"Where are you evacuating us to?" Lauren asked him. He shrugged; he didn't know. At that moment another cop came over with a bicyclist who was refusing to be evacuated. By listening to the transaction between the bicyclist and the two cops, Lauren and I quickly understood that we had no choice but to do as instructed. The bicyclist was arguing with the cop, who calmly told him, "Either you are getting on that boat or we are putting you on that boat." They were as nice as they could be about it. One of them explained that they'd had reports that more buildings nearby might collapse any minute, and this was why we could not stay there
We had to step up onto an impromptu stepladder and balance precariously on the top step to make it onto the tugboat without falling into the Hudson River. The deck of the boat was completely bare, devoid of equipment, but the entire surface -- every wall, every inch of deck -- was covered in a thick coating of industrial grease. Lauren, in her flowery white dress, demurely stood without touching anything. She started talking to other passengers but I didn't feel like talking.
Finally the boat began to cross the Hudson River. Nobody told us where we were going, but it was clear we were heading for the piers at Jersey City, a ride that would only take a few minutes. We all stared silently back at the disaster scene as we travelled. I looked at the broken ruins of the Winter Garden, a glass atrium which had been connected by a pedestrian bridge to the Trade Center. The glass roof was visibly smashed in. The sides of the Merrill Lynch and American Express buildings in the Battery Park City office complex l ooked as if they'd been ripped of a layer of skin.
The boat let us off at the Jersey City piers, where Lauren and I were embarrassed to be greeted by a kindly woman in a blue dress who stood behind a table of dixie cups filled with water. She handed us each a cup of water and a white towel to wipe the dust off our faces with. We smiled and thanked her, feeling guilty because we were not victims but just helpless bystanders. As we walked off, Lauren said "That was wrong, I feel bad." But now, as I think back to it, I am not sorry I took a cup of water and a towel. This woman had a table filled with dixie cups and a basket of clean towels, with barely anybody to take them. Maybe we helped her think she had done something to help. And maybe in some way she really had.
Now that we were in New Jersey, it was pretty clear that our journey had been pointless and that it was time to find our way back to Manhattan and go home. Lauren and I discussed what to do next. Strangely, when I look back on it now, it strikes me how neither of us understood how major an event this was. Lauren had had a date for an off-Broadway play that evening, and she kept trying to call her date or the theatre on her cell phone to see if the play was cancelled. I said to Lauren, "I think it will be cancelled". But it is a sign of how clueless we both were at this moment that this obvious fact was not completely clear to either of us.
The Jersey City waterfront was crowded with silent people staring over the river at the burning white cloud. Lauren and I stood with them for a few moments, and noticed that people were looking at us as if we were survivors, since our clothes were covered in dust. As we watched, we noticed a building just north of the white cloud that seemed to be pouring a new thick spout of black smoke. There was an audible gasp from the crowd and we saw that the building had just collapsed, and a new, darker cloud of dust billowed evenly out under the larger white cloud. So the cop who had evacuated us had been right when he'd explained that more buildings were collapsing.
We asked around about how to get back to Manhattan, and somebody told us how to walk to the PATH train station nearby. We didn't know if the PATH trains would be operable, but when we reached the station we found that they were. In fact, to the credit of the New York and New Jersey public transportation systems, all trains and subways continued to operate through the disaster. Lauren and I found the train and headed towards Penn Station, in midtown Manhattan -- back where we had started from.
I think Lauren was sick of me by now, and was glad for the chance to catch a train down to Greenwich Village and say goodbye.
I walked back to my apartment, got in, called my kids and spoke longer to them. They sounded fine, less upset than I was, at least as far as I could tell on the phone. I remember feeling how glad I was that I had already made plans to move back to Queens so I could live closer to them (my two-year lease at the Times Square apartment was over in September). The timing on this was good.
I turned on CNN and only now saw the video footage the rest of the world had already seen. I think this is a measure of how screwed up my thinking was, but I was honestly surprised how much coverage the event was getting on the news. I wasn't used to the rest of America caring about anything bad that happened in New York City. I saw George Bush say that America was now in a state of war. I thought, "We are?" I did not feel capable of any analysis greater than that.
On Wednesday morning I went back downtown again. I remember walking on Sixth Avenue and reading the hundreds of missing person posters that covered many walls. I remember stopping at the Empire State Building, on the morning of September 12th, and looking up with love and gratitude for the skyscraper we hadn't lost. I then looked around me and saw a few others staring up at it in the same revery.
This is a story without a moral. I don't think I had an original thought or idea during the entire day of September 11. I spent a lot of it in a state of denial.
Maybe it was the next day that I started to understand what this day meant for the future of the world. Or maybe I don't understand it still.
Why I Am Playing The Bowery Poetry Club
by David Amram on Thursday, December 5, 2002 10:39 pm
I rarely play clubs anymore, but I was asked by four different people to play at the Bowery Poetry Club. On December 3, my trio will accompany poet Ray McNiece, former writer in residence of the Kerouac Writer's Residence in Orlando, which I helped get started. After playing music for Ray with my trio, I will play a set of my own. Ray is an outstanding poet, scholar, teacher and ambassador for Spoken Word at its finest. I was honored to be asked by him to do this, as a way of also honoring my work with Kerouac. There is a whole Kerouac connection to this evening, because Steve Allen, five weeks before he died, in his last public concert, performed with me in Orlando and we raised enough money to make the Kerouac Writers Residence in Orlando a reality. After three years of fundraising, under the guiding hand of Marty Cummins, we put the Residence in the black. Steve Allen and I were the ones who first played for Kerouac's public readings.
I started collaborating with Kerouac in 1956 until 1969 when Jack died, and Steve Allen first played with Jack in 1958 at the Village Vanguard. That fall Steve had Jack appear on his national TV show, and also recorded with him.
Ray McNiece was chosen as a Kerouac House writer a few months after Steve Allen and I performed our benefit concert for the Kerouac Writers residence in the Fall of 2000. When Ray recently asked me to play for him, as I did with Jack, for a New York/Florida connection, I was happy that I was free to do so. The Bowery Poetry Club is one and a half blocks from the old Five Spot, where I played in 1957 before On the Road was published, and Jack used to come to the Five spot to read with me. (Bob Holman has a poster with a photo of me playing there from Esquire magazine, in his office. He is supposed to have it framed for the club. This photo is in Time Warner History of the 20th Century and the cover of two books. There are black and white copies available, and the proximity of these two places, with the Bowery Poetry Club a few hundred feet from the old Five Spot, where it all started, should be of historic interest).
Playing at the Bowery Poetry Club completes a circle, started 45 years ago!!!!
On December 11th my trio will be playing with a bunch of musicians from the Vancouver Bongo Beat label, singer/songwriter Lauren Agnelli (she was with the trio "The Washington Squares" and is WONDERFUL) and a group of poets chosen by web author Levi Asher whose site LitKicks was the first one ever to deal with Kerouac, myself and others in an intelligent way. They want me to be the Guest of Honor and also celebrate my 72nd birthday (which is actually November 17) as well as have me play. Like Bob Holman, Levi Asher brings distinction, scholarship and a sense of joy to a fresh way of looking at our era of the 50's. Not Beat but rather beatific... open, inclusive, warm and multifaceted.
On January 5th I'll be performing at a reading with poet George Wallace, who has a book and CD (I did all the music for him) published in Italy and coming out soon in the USA. I'll be playing music with George and then doing a set with my trio. This will be from 4-7 p.m. and should be fun. In the past two years, I have helped George Wallace to contact surviving members of our group to participate in two major events which he conceived and administered himself. The first, where the town of Northport celebrated Kerouac's presence there, and the Big Sur four city marathon readings, were both substantial and critically praised events that concentrated on the cultural aspects of our era, rather than a rehash of negative stereotyping. Jack and many of us still surviving were honored as artists who contributed something of lasting value and inspiration to present day artists. George Wallace, in addition to being a prolific and highly gifted poet with a unique style of writing and reading of his work, has a radio show for poets past and present and has created a website, PoetryBay that is a major outlet for many great young poets, as well as established ones.
On January 18th I'll be performing with Jason Eisenberg, keeper of the Lord Buckley flame, who is coming from Boston Mass to recite Lord Buckley's incredible raps. Lord Buckley was a major influence for Lenny Bruce, George Carlin and was the first to combine the works Shakespeare, stories from the Old Testament, the Bible, the biographies of Jesus, Mahatma Gandhi and Abraham Lincoln with 1940's hip talk, the poetry of the streets. Buckley died way too young in 1960, I played with him the night before he died, at an event given for him by George Plimpton, to help him gain wider recognition. Jason Eisenberg is phenomenal, the best I ever heard with the exception of Lord Buckley himself.
I will be playing a set with Kevin Twigg on drums and John Dewitt at each of these four events.
People might be interested to know why, at this stage of my life, I am doing this. I can tell them that, having performed at the beginning of The Five Spot, and with Cecil Taylor, initiating the club as a major jazz center in January of 1957, performing with Kerouac in New York City's FIRST jazz/Poetry readings in Oct of 1957, composing music for FIRST Joseph Papp New York Shakespeare Festivals FIRST summer in 1957, composing music for the Lincoln Center Theater's FIRST production (After the Fall by Arthur Miller) in 1964, being chosen by Leonard Bernstein as the New York Philharmonic's FIRST composer-in residence in 1966, traveling to Cuba with Dizzy Gillespie and Stan Getz, the FIRST musicians to play in Cuba since the Revolution in 1977, and being the FIRST musician to perform at the Bowery Poetry Club in a Gregory Corso Tribute before the Club was even supposed to be open, in the winter of 2002, I know what is of REAL VALUE.
The Bowery Poetry Club is one New York City's major cultural innovations of the new Millennium. At a time when Arts organizations are in chaos, it leads the way. Bob Holman is an outstanding poet, a visionary and community minded, just as Joe Papp was. He will set the standard for a whole new way (and a very traditional one) of bringing the performing arts back to where they belong...accessible, for all ages, of many different artists from varied genres rubbing shoulders with one another and having direct contact with their audience, always communicative, reflecting the poly-cultural treasures that make New York City a great place to be.
I am grateful to be free to be at these events. I not only see old friends in their 70s and 80s who come. My own children 23, 21 and 18 also love going there and so do their friends.
Paul Auster
by Levi Asher on Tuesday, October 15, 2002 07:01 pmIt's hard to pin down straight biographical facts about Paul Auster, even though Auster writes about himself frequently in his novels and essays. In fact, Paul Auster turns up at least once in most Auster novels, usually popping his head and looking slightly out of place in the middle of his text, like a human being who pops up on the Muppet Show. But even though he writes about himself a lot, he seems to manage to do so in such a way as to obscure more than he reveals.
We can gather a few facts, though, from his various autobiographies and reflective writings:
- He had a remote and emotionally impenetrable father.
- He was once married to novelist Lydia Davis (another renowned postmodern author) and they had children together. The marriage apparently ended in such a way as to devastate Auster nearly beyond repair, and to this date many of the main characters in his novels are adult males living in catatonic states after the deaths of their wives and children).
- He and Davis worked as translators of modern French poetry, and were once so hungry that they baked an onion pie and then tragically overcooked it
- He used to live near Columbia University, and probably ate at the Chinese Restaurant known as the Moon Palace on 112th Street.
- He now lives in Brooklyn Heights and is married to Siri Hustvedt (yes, yet another renowned postmodern author).
- He is a Mets fan.
There are more facts available, but when discussing Auster they all seem to hang meaninglessly in the breeze, because to apprehend Auster's writing is to come to a point where nothing can be considered true and nothing can be understood.
However, this is not why I like Paul Auster's writing. I can take metaphysical intertextual stuff or leave it. If you ask me if I want to read a novel that explores notions of identity, I am not exactly going to leap at the chance. The reason I like Auster's writing is that, somehow, he approaches this postmodern stuff with touches of realism and humanity and street smart humor. Somehow it doesn't come out all dry and thick. Instead it kind of jumps off the page and grabs you around the neck.
At least that's how I felt about his best work, the astounding "New York Trilogy". This consists of three short novels, "City of Glass" (1985), "Ghosts" (1986) and "The Locked Room" (1986). The first book, a pseudo-detective novel, throws us immediately into a scene of horrific remembered child abuse, as a frightened adult male babbles incoherently about the language experiments his cruel father subjected him to when he was a child. We then go looking for the father, find him, and start following him around upper Manhattan. By the end of this swirling, bizarre book, nobody knows what his name is anymore, including the reader.
The next two installments simply provide new layers on the cake: "Ghosts" presents a detective watching a writer through a window (and names all its characters after colors five years before "Reservoir Dogs"!); "The Locked Room" is about a man searching for a lost writer. The overall effect is something like the complete brain-circuit disconnect provided by a great David Lynch movie, minus the soft-core porn, with a few baseball scenes or poker games added.
Auster has written many books, including "Moon Palace" (identity dislocation in an olden-day New York setting, involving a chinese restaurant and a cubist painter), "Leviathan" (identity dislocation with a left-wing/anarchist political theme), "The Music of Chance" (identity dislocation at a poker tournament) and "Timbuktu" (something about a dog). He's also worked on a couple of well-known indie films, "Smoke" and "Blue in the Face". The latest novel is called "The Book of Illusion" (identity dislocation in 1930's Hollywood). I have to admit that at some point I stopped reading new Auster novels. Maybe this is my mistake. But getting your identity dislocated is kind of like getting your shoulder dislocated. It's interesting the first time, but you don't necessarily want to do it repeatedly.
Lit Kicks Spring Peace Poetry Happening
by Levi Asher on Tuesday, April 30, 2002 05:00 pmSo I only got the go-ahead to do this show in early April, and called in Brian Hassett to help me arrange -- the last show he and I did together was the excellent but overwhelming 5th Anniversary show in 1999, and Brian and I both agreed that we wanted this one to be less totally insane then that one. The world-peace theme called for a different mood, and the evening began with a few songs by the Chess Shop Divas (Deb Reul & Amy Coplan on guitar, keyboards and harmonies), followed by Nicole Blackman, who read a beautiful and sad account of her work as a volunteer at Ground Zero last fall.
Next up was Sharon Groth with a poem about love and war and rocketships, followed by Eliot Katz, the rabble-rousing New Jersey poet who had co-edited Allen Ginsberg's last book of political poetry ("Poems for the Nation").
Eliot was followed by the one single person from the LitKicks message boards who had bravely volunteered to try her stuff onstage, the always-charming Lucy Torres (aka Gothic-Hippie-Chic). She read a poem by litnrod11 as well as a few of her own.
Next up was Sander Hicks, who talked about George Bush for a little while before giving us a powerful reading from Walt Whitman's "Leaves of Grass", which was appropriate because Holman had just installed the first decoration in the club, a huge Lite-Brite portrait of Walt Whitman (yes, Lite-Brite).
Sander was followed by one of the highlights of the evening, a few minutes of African melodies and singing by the cora master and griot Papa Susso, whose performance totally brought down the house. Bob Holman joined him for a second piece, a West Africa/New York storytelling collaboration, and I followed this with the poem I'd written for the evening, my "ode to aggression" titled "Fight".
Todd Colby, author of Riot in the Charm Factory followed with a few sardonic and unique pieces, and was followed by Living Theatre veteran/performance artist Pat Russell ("Views of Life from the Seat of a Bike: A New York Story").
We took a short break, and then Stephan Smith took the stage. If you haven't heard of Stephan, I hope you will soon. He's one of the best new folk/protest singers around, and has been performing with folks like Pete Seeger. He's hoping to do some good stuff of his own at Bob Holman's club -- stay tuned for more on that front later.
Walter Raubicheck followed with an excellent reading from Dylan Thomas, and after then Brian Hassett began the long sequence he'd been planning for the second half of the night, a stream of unstopping poetry and music which he'd been calling "The Wheel" as the idea was to wheel in one performer after another without pausing for introductions or polite clapping or any of that other stuff you always get at one poetry reading after another. Brian's Wheel included more songs by Deb & Amy and poetry by George Wallace, Angela P., Bob Holman and Brian himself, and music by Will Hodgson, Geoff B. and several others. At one point during this joyful stream, a bassist playing a standup bass even seemed to have materialized out of nowhere (I know we didn't have a standup bass in our plans) and there were many other magical moments.
I had hoped to join this myself and read some poems that had been posted to LitKicks after Sept 11, but we were way overtime and there was no way to do it. After the "Wheel" we totally changed the mood and closed the night with a killer set by a punk band I really like, White Collar Crime, led by Sander Hicks. This is a very unusual band -- they have no guitars (this seems to be part of their political mandate somehow), they play really loud, and I just like them a lot. Check them out if you can.
It was all over around 1:30 a.m. How can I sum up the night? I am still in a daze, and it is dinner time the next day. We were there to make some kind of a point, to the world and to ourselves. I think we made the point.
Here's the poster if you missed it.
And here are some pics (thanks to Tony & Stacy Leotta):

Deb Reul and Amy Coplan

Nicole Blackman

Sharon Groth

Lucy Torres

Eliot Katz

Bob Holman and Papa Susso

Levi Asher

Todd Colby

Pat Russell

Sander Hicks and White Collar Crime

The Walt Whitman LiteBrite
Beat News: December 14 2000
by Levi Asher on Thursday, December 14, 2000 12:57 pm
1. I've been hearing the hype about e-books for a while. Surprisingly enough, I think I'm turning into a believer.
The first e-book to catch my attention was 'The Plant' at Stephen King's website. I downloaded the first couple of chapters, which were free at the time, and I had fun reading them. When it came time for me to start paying for installments I fell off, not because I didn't want to spend two bucks but rather because I always have too much to read anyway and I didn't feel motivated to fill out yet another annoying credit card form. Still, I *almost* paid for it. And this was the most time I'd invested in reading Stephen King since 'The Stand' when I was a kid. So overall I'd say my first experience with e-books was pleasant and painless.
A couple of weeks ago I tried my second e-book, a review copy of Jack Kerouac's 'Orpheus Emerged.' This is a previously unpublished story from Kerouac's formative years, produced in a lively multimedia format by an electronic publisher called Live Reads. While Stephen King's novel was presented in austere, dignified black-and-white, this book is a colorful, highly designed hypertext experience. I'm not tremendously excited by this particular story, which is in the same collegiate hyperintellectual vein as Kerouac's first novel, 'The Town and the City'. But I like the idea of Kerouac in e-book form, and I like what the publisher did to liven up this work. I also enjoyed toying around with the Adobe E-Book Reader as I read. After I was done I found a nice pile of free classic novels, poetry books and non-fiction works, among other things, at the Adobe E-Book Library. A free library of classics is a nice touch, and I think it's smart for publishers to keep giving away e-books to help readers get comfortable with the concept. I'm looking forward to what comes next.
Back to traditional formats -- here are a few new things worth checking out:
2. Halfmoon is a film setting of three stories by Paul Bowles, and Paul Bowles: The Complete Outsider is a documentary about the writer, created by Catherine Warnow and Regina Weinreich.3. The Bop Apocalypse is a study of the religious significance of the Beat Generation. A long overdue topic!
4. So George W. Bush is going to be president. Well, I don't dislike him nearly as much as I disliked his father. Not yet, anyway. And so far he's saying some decent things about bipartisanship and reaching beyond divisive party boundaries -- and maybe he'll actually deliver on this. But just in case he doesn't -- a refresher course in political dissent couldn't hurt, and there is no better place to start than the recently republished Autobiography of Abbie Hoffman.
5. Beat poetry and punk rock may not seem to have a lot in common. But in downtown New York City, the two scenes have always travelled together. This literary/musical intersection is the subject of an enjoyable new book of essays and interviews, Beat Punks by Victor Bockris, a familiar biographer and chronicler of the New York downtown scene. The East Village is the locale, St. Mark's Place is the epicenter, and Patti Smith, Richard Hell, Allen Ginsberg, William S. Burroughs, Debbie Harry and Andy Warhol are the characters who show up in these highly interesting pages.
Beat News: October 8 1999
by Levi Asher on Friday, October 8, 1999 12:01 pm
1. I'd always wanted to see a production of Beat poet Michael McClure's controversial hippie-era-vintage play "The Beard", which was the subject of a famous Los Angeles censorship battle back when Ronald Reagan was governor of California (other famous censorship targets in that era included "The Love Book" by Lenore Kandel). The play has just been revived in a
thoughtful new production by the venerable La Mama Etc. theater in the East Village in New York, so I got my wish.I was curious to see, thirty years after the Los Angeles police attempted in vain to shut the play down, just what the fuss had been about. I was expecting something wildly offensive, and was surprised to find a quiet, subtly shaded and intelligent dialogue play about the different ways men and women approach sex. There were only two characters: an archetypal male played by an actor who looked slighly like Kid Rock wearing a cowboy outfit, and an archetypal woman who resembled Courtney Love in platinum-blonde mode. This man and woman spend the entire play -- literally, the entire play -- philosophically debating whether or not they should have sex. This might sound somewhat tedious (actually, it sounds like a lot of my dates when I was in college), but the concept is relevant enough to make it add up to a memorable statement, and an enlightening evening.
In fact the primal battle between men and women is a familiar theme -- the play reminded me especially of the cartoons of male and female armies engaged in civil war that James Thurber used to draw, and also of similar "symbolic" treatments of the sexual dialectic like "No Exit" by Jean-Paul Sartre (in which a triangle of three characters illustrate the theme) or "Who's Afraid of Virginia Woolf" by Edward Albee (which gives us two matched pairs, a total of four). McClure keeps the concentration on the primal two. His approach to drama is cool and diagrammatic, with none of the emotional build-up and release of a Tennessee Williams or Arthur Miller play -- just the endless Escher-like curving-back-upon-itself of the "big question", as the man and woman discuss it over and over and over (yeah, the more I think about it, this was a lot like one of my college dates).
I'm happy to report that the iconic characters do have sex in the end, symbolically at least. In the final moment before the curtain drops (actually there is no curtain, but whatever) the blonde woman acheives a blissful sonic orgasm. I admit to being slightly disappointed that she never took any of her clothes off (what's up with that?) and maybe some women in the audience were disappointed that Kid-Rock-Boy didn't either. Pretty incredible to think that, back in the sixties, they shut down a theatre for presenting ideas about sex. I think (I hope) we've come a long way since then.
If you can't come to New York City to see this play in person, check out the fragment of the script on McClure's own excellent web page, which also presents some of his interesting poetry.
2. Holy Shit! There's an amazing site of free literary MP3's at MP3Lit.com. Everybody from Sylvia Plath to Nicole Blackman, Henry Rollins to Noam Chomsky to Mumia Abu-Jamal to Tom Wolfe. A great selection, and a great public service. The site is fairly new and should grow quickly, but I hope the interface remains as simple as it is now. I'm looking forward to the upcoming "Loudmouth" section where unknowns can present their own fiction and poetry -- should be some interesting results there. Do not miss checking this place out.
3. The New York Mets are back in the playoffs for the first time since 1988 -- a very good sign for the coming millennium. Literary Kicks says "Let's go Mets!"

