Author Archives: d.perry

Barry Hannah Story

I was sitting radar. Actually doing nothing.

We had been up to seventy-five thousand to give the afternoon some jazz. I guess we were still in Mexico, coming into Mirimar eventually in the F-14. It doesn’t much matter after you’ve seen the curvature of the earth. For a while, nothing much matters at all. We’d had three sunsets already. I guess it’s what you’d call really living the day.

But then, “John,” said I, “this plane’s on fire.”

“I know it,” he said.

John was sort of short and angry about it.

“You thought of last-minute things any?” said I.

“Yeah. I ran out of a couple of things already. But they were cold, like. They didn’t catch the moment. Bad writing,” said John.

“You had the advantage. You’ve been knowing,” said I.

“Yeah. I was going to get a leap on you. I was going to smoke you. Everything you said, it wasn’t going to be good enough,” said he.

“But it’s not like that,” said I. “Is it?”

He said, “Nah. I got nothing, really.”

The wings were turning red. I guess you’d call it red. It was a shade against dark blue that was mystical flamingo, very spaceylike, like living blood. Was the plane bleeding?

“You have a good time in Peru?” said I.

“Not really,” said John. “I got something to tell you. I haven’t had a ‘good time’ in a long time. There’s something between me and a good time since, I don’t know, since I was was twenty-eight or like that. I’ve seen a lot, but you know I haven’t quite seen it. Like somebody’s seen it already. It wasn’t fresh. There were eyes that used it up some.”

“Even high in Mérida?” said I.

“Even,” said John.

“Even Greenland?” said I.

John said, “Yes. Even Greenland. It’s fresh, but it’s not fresh. There are footsteps in the snow.”

“Maybe,” said I, “you think about in Mississippi when it snows, when you’re a kid. And you’re the first up and there’s been nobody in the snow, no footsteps.”

“Shut up,” said John.

“Look, are we getting into a fight here at the moment of death? We going to mix it up with the plane’s on fire?”

“Shut up! Shut up!” Said John. Yelled John.

“What’s wrong?” said I.

He wouldn’t say anything. He wouldn’t budge at the controls. We might burn but we were going to hold level. We weren’t seeking the earth at all.

“What is it, John?” said I.

John said, “You son of a bitch, that was mine—that snow in Mississippi. Now it’s all shot to shit.”

The paper from his kneepad was flying all over the cockpit, and I could see his hand flapping up and down with the pencil in it, angry.

“It was mine, mine, you rotten cocksucker! You see what I mean?”

The little pages hung up on the top, and you could see the big moon just past them.

“Eject! Save your ass!” said John.

But I said, “What about you, John?”

John said, “I’m staying. Just let me have that one, will you?”

“But you can’t,” said I.

But he did.

Celeste and I visit the burn on the blond sand under one of those black romantic worthless mountains five miles or so out from Mirimar base.

I am a lieutenant commander in the reserve now. But to be frank, it shakes me a bit even to run a Skyhawk up to Malibu and back.

Celeste and I squat in the sand and say nothing as we look at the burn. They got all the metal away.

I don’t know what Celeste is saying or thinking, I am so absorbed myself and paralyzed.

I know I am looking at John’s damned triumph.

His Poem

“Love Comes Back” is one of the last songs Arthur Russell was working on before he became too ill to do much of anything. The version of it that appeared on Love Is Overtaking Me is a simple, keyboard and drum machine home recording that likely would have been reimagined and tinkered with endlessly had Arthur lived long enough to do so. While he still could, he sang the song to his partner Tom Lee every day, the significance of the lyrics becoming more and more meaningful as Russell came closer to death: “Love comes back / Being sad is not a crime / Once you know that / Love is back.”

For Arthur Russell, music was a constant and integral part of being alive, and there was nothing more powerful and expressive than a song, a voice, an instrument. Music could touch, heal and transform, and transcend even death.

The Crystal in Tamalpais

by Joanne Kyger

 In Tamalpais is a big crystal. An acquaintance told
me the story. A Miwok was giving his grandfather’s medicine
bag to the Kroeber Museum in Berkeley. He said this man
took him over the mountain Tamalpais, at a certain time
in the year. I believe it was about the time of the
Winter Solstice, because then the tides are really low.
They stopped and gathered a certain plant on the way over
the mountain. On their way to the Bolinas Beach clam patch,
where there is a big rock way out there.

                                                                            Go out to
the rock. Take out of the medicine bag the crystal
that matches the crystal in Tamalpais. And
                                              if your heart is not true
                                              if your heart is not true
when you tap the rock in the clam patch
                                                            a little piece of it will fly off
                                                   and strike you in the heart
                          and strike you dead.

And that’s the first story I ever heard about Bolinas.

Each is a strategy for propagating information forward through time—meaning, Flack adds, “individuality is about temporal uncertainty reduction.” Replication here emerges as just one of many strategies for individuals to order information in their future. To Flack, this “leaves us free to ask what role replication plays in temporal uncertainty reduction through the creation of individuals,” a question close to asking why we find life in the first place.

The eulogists of work. Behind the glorification of ‘work’ and the tireless talk of the ‘blessings of work’ I find the same thought as behind the praise of impersonal activity for the public benefit: the fear of everything individual. At bottom, one now feels when confronted with work – and what is invariably meant is relentless industry from early till late – that such work is the best police, that it keeps everybody in harness and powerfully obstructs the development of reason, of covetousness, of the desire for independence. For it uses up a tremendous amount of nervous energy and takes it away from reflection, brooding, dreaming, worry, love, and hatred; it always sets a small goal before one’s eyes and permits easy and regular satisfactions. In that way a society in which the members continually work hard will have more security: and security is now adored as the supreme goddess…”

— Friedrich Nietzsche, The Dawn, p. 173

Bailey’s Beach Club is not an average private club — it has been described as the most exclusive club in America.

The New York Times wrote about the club more than a decade ago…’’People kill to belong to the beach,” said Beth Pyle, whose twin sister, she added, has never quite made it into the club. ‘It has really driven some people crazy when they don’t get in.”

Said to be so entrancingly beautiful that fish would forget how to swim and sink below the surface upon seeing her reflection in the water.

Said to be so luminously lovely that the moon itself would shy away in embarrassment when compared to her face.

Claire Rousay

A lot of folks want me to say that my queer and transgender identity influences my work. It isn’t untrue but I also think it isn’t as important to me as other individuals who belong to the same or similar identities. I guess I primarily identify as a broken person, a struggling person, a fuck up, a let down. Sometimes I feel like the whole world is out to get me. Sometimes I feel like the whole world is bowing at my feet.

I guess being flawed, unsure, and deeply human are more in line with whatever definition of “identity” we are talking about. If those things are my identity – I guess I just want to keep my head down and keep working. I work all day, every day. The only way to squash or maybe one day overcome these parts of myself is through working. I want to make things that connect me to other people.