TOP GUN III: MONTANA DRIFT

[SOMEWHERE IN THE BOWELS OF NORAD COMMAND CENTER]

PA SYSTEM: AWOOGAH! AWOOGAH! TOM CRUISE REPORT TO SITUATION ROOM!

GENERAL: We got little a situation here.

TOM CRUISE: [wearing the smirk he smirks in every damn movie he’s ever been in] I’m well aware of that, General. This is the situation room, after all. You wouldn’t have called me in here if there had been a lack of…situation, would you?

GENERAL: Christ, why couldn’t I get Richard Gere…Look, we’ve detected an enemy aircraft high above the plains of Montana…

CRUISE: Thank God for our Distant Early Warning System…

GENERAL: Actually it was reported on Twitter by a sheep farmer looking up while he was taking a leak out on the north forty…

CRUISE: What is it? A Sukhoi stealth fighter? I get a chubbie just thinking about splashing one of those mothers…

GENERAL:  No…

CRUISE: A North Korean ballistic missile threatening me, my loved ones, and everything we hold dear, and which might even disrupt the upcoming Oscar ceremony if allowed to proceed unchecked?

GENERAL: Nope…

CRUISE: Wait, I got it…a hypersonic drone loaded with powerful lasers?

GENERAL: Not exactly. It’s spherical object inflated with gas…

CRUISE: My God. It’s filled with enough poison gas to wipe out greater Butte…

GENERAL: Well, more like helium. It won’t kill you but if you ingest enough it makes your voice sound funny for a minute.

CRUISE: Moving at supersonic speeds…

GENERAL: We estimate it’s travelling between 20-40 miles per hour…

CRUISE: Made out of the latest hi-tech invisible fabric….

GENERAL: It’s painted white, OK? Just get up there and knock it down.

CRUISE: No problem. A short burst from the .50 cal oughta do it…

GENERAL: You’re to use a single AIM-9X Sidewinder air-to-air missile…

CRUISE: To shoot down a balloon? Are you crazy, sir? Those things cost almost 400k apiece, according to Wikipedia!

GENERAL: Yeah, but the cool factor is off the charts!

On James Hannaham’s DIDN’T NOBODY GIVE A SHIT WHAT HAPPENED TO CARLOTTA

DIDN’T NOBODY GIVE A SHIT WHAT HAPPENED TO CARLOTTA is the most inventive, funny, moving, and true novel I’ve read in some time.

The heart, soul and body of the story is Carlotta. It is her story, and it is told primarily through her eyes, thoughts and remarks. Hannaham’s great accomplishment is the creation of her voice. She is witty, desperate, determined, and an original.

The story unfolds during a Fourth of July weekend during which Carlotta has been paroled back to her Brooklyn home after serving nearly all of a twenty-year sentence for aggravated assault—a crime for which it seems that her culpability lay mainly in being in the wrong place at the wrong time in the wrong company. There is a lot she has to do right, and a lot that can easily go wrong, if she is to stay out of jail and not violate the conditions of her parole (or as she calls them, “the stips”). She has to find a job, stay out of any kind of trouble that might cause a cop to show up, not associate with any other ex-cons, avoid drugs and alcohol and even the vicinity of such substances, and find employment, for which she has little or no qualifications.

On her side: she is not much of a drinker or drug user, and she wants to stay out of jail. But the deck is heavily stacked against her: she is poor, black, Latino, a transvestite—she “came out” in the penitentiary—and tends to have a problem with temper and impulse control. She returns to the home of her extended family and finds little support: her relatives have their own problems, and mostly don’t care about Carlotta’s, and are baffled and disturbed (especially her grown son) in encountering a woman who went to prison as the man they knew. And the house in Brooklyn seems to be a continual venue for the kind of parties that make parole violation seem unavoidable.

That’s the setup, but it doesn’t convey the joy and excitement the reader experiences in seeing the world through Carlotta’s voice and in Carlotta’s terms. This passage comes near the end of the story when Carlotta, fleeing a dangerous situation in Brooklyn, winds up on Coney Island, and hears a DJ on the beach playing the kind of music she loved decades ago, before being sent to jail:

It’s like this man knew ezzackly when time an fun had stopped for me an he decided he gon go back to that fork in the road an lemme take the other path, lemme start livin the life I coulda lived, like time gone backwards. Last night a DJ saved my life! I felt the glory tinglin all through my fuckin chakras or whatever, baby, I was like Chakra Khan out there or, better yet, Chakra Ex-Khan, tastin the many flavors a the night air like it be a drug that make all that negative shit that had happened not had happened. Why’d we treat ev’thing like it was worthless when it was really so precious, when that shit was our lives?

The novel has its flaws. It shares a defect I find in a lot of fiction these days: too much boring authorial explanation and qualification. Descriptions of facial reactions and gestures, getting the character across the room or into a chair, details that are boring and unnecessary. I wish Hannaham had trusted in his character and in the reader’s imagination enough to leave out details that don’t matter to our understanding of the story or its people.

For example, Carlotta describes to us a kaleidoscopic impression of all the different kinds of people on the boardwalk in Coney Island, impressions all the more vivid to her after half a life spent in prison (and much of that in solitary confinement). She buys herself a couple of hot dogs, another simple act that for her bears the taste of liberty. And then:

No bench had any vacancies; in fact, most of them contained more people in various configurations than they’d been built to hold. The moment she noticed someone leaving half of a park bench unoccupied, Carlotta scooted toward the opening, plopped herself onto the seat, and set her food box on her knees.

Now maybe it’s just me, but I don’t need the author to explain to me how Carlotta finds a place to sit down. Narratively speaking, she needs to get there; a funny and telling incident happens while she’s eating her hot dogs. But the mechanics have the flavor of a clunky made-for-TV moment.

But this is minor complaint. This story doesn’t need a sequel, but I enjoyed it more than enough to want to find out how Carlotta does going forward.

Hannaham, James. Didn’t Nobody Give a Shit What Happened to Carlotta, Little, Brown and Company. Kindle Edition.,

Fascinations

“There is a queftion in natural hiftory that has, in efpecial

manner, folicited from me thefe obfervations. I mean the

queftion concerning the fafcinating faculty, which has been

afcribed to different kinds of American ferpents. It is my

intention to examine this queftion, in the memoir which I now

prefent to the Philofophical Society”

.

.

–Journal of Natural Philosophy, Chemistry, & the Arts (1804)

.

.

People fascinate me. It seems to me that the most ordinary-seeming person, if pressed (and if they were being honest) would soon reveal themselves to be composed of thousands of odd little stories, and despite the fact the each of these stories has its own idiosyncratic shape, at once elbowy and intestinal, they are all interwoven and fitted so seemlessly as to construct the singular one we see standing before us. People are like Dr. Who’s “Tardis”: bigger on the inside than the outside.

Cats fascinate me. If a human were a very complex sort of soup, a cat would be a spoonful of that soup. Everything in that spoon contains a little bit of what’s in the pot. One generally does not drink soup straight out of the pot—one consumes it a spoonful of time (I’m not suggesting you eat your cat—this is a metaphor, okay?) Why? I guess you could say soup by the spoonful is a little less “in your face” than by the potful. So I can look at (and get to know) a cat, and feel like I’ve had a taste of the near-infinite complexity of what humanity is made of.

Since I call myself a novelist, you may find it strange that novels don’t fascinate me. Don’t get me wrong—I’ve read novels that interested me, that awed me, that inspired me, that changed my life. But I don’t think I’ve ever read a novel that fascinated me—it’s a different sort of engagement. For me, reading a great novel is like watching a trainwreck in slow motion—truly, I can’t look away—but I’m too immersed in it to engage with it intellectually in the way that defines “fascination” for me.

On the other hand, short stories (good ones) do fascinate me. A great short story (Nathaniel Hawthorne’s “Feathertop” or “The Black Veil”, Guy de Maupassant’s “Butterball”, Isak Dinesen’s “Babette’s Feast” (or just about any of the stories in 7 Gothic Tales) to name just a few). To read a great short story is to see the world in a grain of sand. Yet another “Tardis” of sorts. I guess it’s the oddly pleasurable necessity of pulling so much out of myself to fill in the blanks that makes reading a great short story such a different experience than reading a great novel.

My fascination with stories isn’t limited to those that are written down. Stories people tell me fascinate me. People probably wouldn’t tell me their stories, if they had any idea how much I read into them.

Dreams fascinate me. Analyzing a dream is like planting and watering a strange, gem-like seed that inevitably blooms into an even stranger flower. I’ve had dreams I’ve thought about for nearly my whole life. When I was little (5? 6?), I dreamt I was attacked by a skeleton wearing army boots. My father saved me by tying the skeleton’s shoelaces together. That image of my father—so deft and fearless—has stayed with me my whole life. No question it is an image that is infinitely bigger on the inside than the outside.

Love fascinates me. If anything is bigger on the inside than the outside, it’s love.

Hate doesn’t fascinate me. If anything is smaller on the inside than it is on the outside it’s hate. Hate is nearly the ultimate simplifier. I say nearly, because I suppose the prize would have to go to the black hole—a thing that pulls everything in and squeezes it down to  a “nothing” that, somehow, makes the black hole ever more powerful. Now that I think about it, maybe hate is even better at that.

Gosh, I feel like I’m done, but I don’t want to end on that note. What else fascinates me? There’s gotta be one more thing. I don’t know—Sumo wrestling, maybe.

Then Come, in Order of Decreasing Frequency

Then come, in order of decreasing frequency

The beating of the pulse,

The chirping of crickets or cicadas,

The rustling of leaves,

The crackling noises of the telephone,

The measured tread of a troop of soldiers, and

Various strange noises, which patients have likened to

The meeting of railway trains under a roof on which

Heavy rain was falling,

The rumbling of a receding cart,

The shuffling of a pack of cards,

And the rolling of thunder.

–Adapted from an article about tinnitus in the Scientific American magazine

Volume 104 (March 25, 1911)

The 10 Greatest Rock Instrumentals of All Time

What do you do when you’re in a lazy state of mind on a cold, icy day? Post a listlet to your vanity blog, natch!

Today’s list: the ten greatest rock instrumental pieces of all time!

Like all lists of the “best” works of art of any medium, this list is utterly nonsensical. I won’t try to defend or explain it. We’re either on the same aural wavelength, or we’re not. But you might discover something here you enjoy.

In no particular order:

Intro to Sweet Jane—Lou Reed

Beck’s Bolero—Jeff Beck

Jessica—The Allman Brothers

Europa—Carlos Santana

Are You Going With Me—Pat Metheny

Fortune Smiles—Gary Burton and Keith Jarrett

Fanfare for the Common Man—Aaron Copland, as performed by Emerson Lake and Palmer

Lenny—Stevie Ray Vaughn

The “In” Crowd—Billy Page, as performed by Ramsey Lewis

The Star-Spangled Banner—Francis Scott Key, as performed by Jimi Hendrix at Woodstock

Honorable Mention: Freeway Jam, Jeff Beck and Jan Hammer; Green Onions, Booker T. and the MG’s; theme to A Few Dollars More, Ennio Morricone