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  • More Of The Blah-Blah Cha-Cha

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    Abel Pann

    But when he came home there was no one to tell what he had seen –and if he picked the flowers and brought them home in his hands, there was no one to give them to. And when at evening, past the dark blue shape of a far-off island, the sun sank under the edge of the sea like a red world vanishing, the hunter saw it all, but there was no one to tell what he had seen.

    Randall Jarrell, from The Animal Family

    But I’m here, though, aren’t I? At least for now. Don’t count me out.

    There is grandeur in this view of life.

    Funny how we hunker down in our little canoes

    in the middle of the scummy green swamp and wait and wait

    for hope to appear, for ghosts to die and come back as bodies.


    –Susan Wood, from “The Lord God Returns”

    One night a few weeks back I got whacked with a shovel and shoved in the trunk of a beat-to-shit Nova. The tweaker who whacked me drove me out into the country and dumped my body in a corncrib.

    It was a cold night, and as I rocked at the edge of consciousness my heart was removed from my chest by a tiny old man with strong hands. This little man, who was wearing a miner’s helmet, perched on my breastbone and opened my chest with a rusty saw. There was a stiff wind whipping across the fields, and to keep himself from blowing away, the man –he was from a long line of heart deliverers– had secured his body to the framework of the corncrib with strands of baling twine. He worked long and diligently, and the procedure was precise but bloody work.

    When he had finished he wrapped my heart in burlap and loaded it into a waiting carriage pulled by two peacocks and driven by a fox wearing a red velvet top hat.

    The carriage traveled many miles along dark roads. At some point during its journey it began to snow, and the snow grew heavier the further the carriage traveled.

    Eventually the carriage entered heavily wooded country, where the sky was suddenly blown free of clouds and a bright moon illuminated mile after mile of evergreen trees heaped with snow and mottled with shadow.

    The fox drove long into the night, all the while singing and whistling quietly to the drowsy and plodding peacocks. In the early hours of the morning they arrived at a lake deep in the woods.

    The lake was a vast thing, dark and ceaselessly rolling shattered moonlight ashore. It stretched to the far horizon, and was so black in the distance that the constellations appeared to be complex geometrical diagrams drawn upon a chalkboard.

    Out in the lake some distance was anchored a miniature sailing ship with a scurrying crew of mice. My heart was a very small thing by this time, and it was carefully unloaded from the carriage, unwrapped, and packed in a nest constructed of pine needles and birch bark. It was taken aboard the ship by a contingent of mice in a rowboat.

    While the peacocks drowsed and pecked tentatively at the snow-covered earth, the fox watched these proceedings from his perch on the carriage. Though he had been trained to not eat the mice, he was distracted by their presence all the same.

    Once my heart was safely secured in the ship and the crew members were back aboard, the captain, a fat old mouse with long whiskers and a jaunty cap, gave the order to set sail. The ship eased out into the darkness of the lake, rocking in the turbulent waves, its sails providentially bowed by the stiff breeze that carried my heart north at a steady clip.

    (To be continued)

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  • Kerri Miller, Ken Rudin & Al Franken

    MPR’s Kerri Miller had NPR’s Ken Rudin, (a.k.a. “The Political Junkie”), on last Friday morning. Both are plenty hip to horse race politics so the conversation and calls, even with Pledge Week breaks, enhanced my drive up I-35 to Duluth.
    They talked up Obama and the presidential slates. The obvious stuff. But it was the discussion of the Al Franken candidacy — to be announced Wednesday, reportedly, as he signs off his Air America show — that caught my interest most.
    Miller and Rudin seemed in agreement that Franken’s quest was problematic as a consequence of the vast trove of broadcast “baggage” his primary rivals and Norm Coleman might/will throw at him. He has, after all, made endless outrageous assertions against conservatives, Republicans and Norm Coleman. Miller and Rudin seemed to be imagining Franken’s hyperbole playing endlessly as attack ads against him, pruning his credibility, diminishing his gravitas and keeping him permanently on the defensive.

    Its an arguable point, because there’s no question Mike Ciresi would take that offensive if he needed to. Likewise Coleman in the general election, if Franken gets that far.

    What was disappointing about the Miller-Rudin analysis — which in fairness to them was brief, what with Bill Kling Inc. pleading for your disposable dollars, (and did you know you can also sign over the deed to your home and your childrens’ college funds to MPR?) — was there was no recognition of an evolved definition of “baggage”.

    I admit a certain appeal for Franken. Partly because he seems at least as viable as any other name the Democrats have tossed against the wall to date. But also BECAUSE of his baggage, or I should say, what his baggage is not.

    When I think of “baggage” today, in 2007, in the aftermath of the gross manipulation of intelligence, (i.e. lying), that preceded the Iraq invasion, in the aftermath of the Tom DeLay-Jack Abramoff-Duke Cunningham-Dusty Foggo scandals, no-bid contracts, Dick Cheney’s secret energy task force — the one with “Kenny Boy” Lay offering sage counsel — and on and on … and on and on … hours of tapes of a professional satirist making, OK, occasionally sophomoric jokes at these culprits’ expense doesn’t even begin to register as “baggage”.

    More to the point, is there a voter in Minnesota who doesn’t think of Franken as a comedian? Some may not think him funny. But they understand he’s in the business of making jokes. And if the jokes started as early as they did, back when Team Bush was riding high and so much of the rest of the pop infotainment/mainstream media illuminati were playing cheerleader, Franken’s jokes/baggage may very well qualify as courageous rather than intemperate.

    As far as I know Franken’s “baggage” has nothing whatsoever to do with incidents of deceit, fraud, contempt for the Constitution or lack of “support for the troops”. (I’m sure he’s got tapes of his USO visits if anyone challenges him on that.) His baggage is that of a very well-known, well-understood pop culture icon saying pretty much what he has always said. In other words, stuff that needs very little defending.

    I’m reminded of a joke I think Warren Beatty made about all his hedonistic womanizing baggage were he to run for high office. I’m paraphrasing here, but the joke has some reporter asking Beatty at a press conference, “Sir, will you confirm or deny you had sexual relations with [fill in the blank]?” To which Beatty was advised to respond, “I’ve done everything and everyone. Next question.”

    Franken doesn’t need my campaign advice, but it seems obvious the trick he needs to pull off is convincing voters the two sides of his personality are not only compatible, but in fact a bona fide asset on the modern, post-Team Bush political stage. Namely, that he is both a guy with a fundamentally comic, satirical nature AND a thoughtful, honest, well-connected student of policy and government. (Everyone who thought his radio show insufficiently funny, was probably reacting to his wonkier moments with government officials and think tankers.)

    Also, knowing the kind of flame that draws press moths, Franken’s “baggage”, that element of newsworthy unpredictability, is precisely the sort of thing that may draw significantly more free media than your garden variety political careerist.

  • Lookin' Back

    Reflections and random scenes from Friday’s 10K Arts Party:

    I ran into the Sock Puppet Lady, whose work is featured in the Feb. issue of 10,000 Arts

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    And here’s me, sandwiched between a couple of Live Action Set players

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  • V-Day #1

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    ain’t happenin’ …

    Valentine’s Day is an odd holiday for the restaurant industry. Yes, it’s a money maker, but most of the reservations are two-tops. And you can bet that your walk-in traffic will be next to nothing. And then there’s the fact that you will be working the holiday, so your spouse, ahem, will have to suck it up.

    But I am a purist, celebrate the holiday ON the holiday, meaning dinner reservations should be on Wednesday. And if you ask me, mid-week dining is the best anyway: fresher chefs, less crowded, not as many drunk people. Many restaurants will be creating special menus, so it’s a great opportunity to see something creative from our local bunch.

    Vincent’s five course tasting menu features poached guinea hen and lobster ravioli.

    I’d be all over the pumpkin-lavender chevre tart at Heartland.

    W.A. Frost does tasting menus every night anyway, as does La Belle Vie.

    I don’t know if there are any tickets left, but you have to buy in advance for Solera’s V-Day gig which includes an eight course tasting menu and entertainment.

    Don’t worry, if you’re one of those who doesn’t buy into all of the pink-smothered traditions of Feb 14, there’s a place for you: Joe’s Garage is hosting a Surly V-Day in conjunction with Surly Ale. They “invite the cynical people to drink through their angst with bargain basement prices…” and indulge in specially priced blue-plate specials. You’ll have to call, as their website’s events page isn’t updated … which makes me surly.

  • Gary Pruitt Takes Another Hit

    This from this morning’s NY Times.

  • Not Turn Away, Not Fade Away

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    Again and again we put our sweet ghosts on small paper boats and sailed them back into their death, each moving slowly into the dark, disappearing as our hearts visited and savored, hurt and yearned.


    Jack Gilbert, from “Kunstkammer”

    Another flower shall spring, because the soul of sweet delight

    can never pass away.

    William Blake

    What then is required? Light! Light! Light in floods!

    –Victor Hugo, Les Miserables

    A shattered mirror, I’ve discovered, really is bad luck.

    I stare into the fractured reminder of this fact every morning, and it’s as if entire continents of my face have broken free and drifted out into the dark sea of who I once was and who I thought I was going to be.

    Still, I thank god or someone, some big over-thing that lives above me or in my head –it doesn’t matter; whatever and whoever it or he or she is, I thank them. It could be a consortium or a cabal for all I know or care, just so long as they don’t forsake me.

    It’s a big something, that’s all I know. It shoves me. It calls my attention to the sky when the sky is deserving of attention, which is often. It stirs things in me, and keeps moving words from my skull to my fingers and tongue, even when I am –or should be– too weary and brain-fogged to speak my own name, let alone form complete sentences.

    It keeps shooting off bottle rockets, flares, and the occasional full-blown fireworks display. Time and again it drills its way through the murk to the place where my laughter and wonder are stashed, and calls them forth in bursts and spasms.

    For all these gentle miracles I thank God or someone, some big over-thing, etc. I give thanks also for Otis Redding, for E.B. White, for Czeslaw Milosz and Stanley Kunitz, for the Brothers Grimm, for Tom Waits and Ornette Coleman, for sweat and love and tenderness and compassion, for human hands and hearts, for the companionship of dogs, and for Nat Kendricks and the Swans’ version of “Mashed Potatoes.”

    And for mashed potatoes. And for fried potatoes at the Band Box. And for potatoes in general.

    Because of this gratitude, I want, like Zbigniew Herbert, to make of my imagination “an instrument of compassion.”

    Like Tolstoy (I think), I want to learn to believe that people are more important than art.

    I want to believe that.

    I want to offer love, understanding, and compassion to the troubled and broken people I come in contact with. I want to hear their stories, to listen to how they hurt and how they got hurt and how they got lost. I want to understand if I can their strange logic and imagine the unreal places that have become so terrifying and so real to them.

    I know I will fail and fail miserably (I have failed and failed miserably), but these are things I want all the same.

    I am trying very hard not to be sad in this world.

    Last night, after midnight, I took my snow saucer over to the big hill by the lake and plunged again and again into the darkness until I got what I came for: tears. Tears of sorrow. Tears of joy. Tears of gratitude.

    Lord, grant me the strength and agility of those who build sentences

    long and expansive as a spreading oak tree, like a great valley; may they

    contain worlds, shadows of worlds, and worlds of dreams.

    Zbigniew Herbert, from “Breviary”

    I could write a treatise

    on the abrupt change

    of life into archaeology

    –Zbigniew Herbert, from “Abandoned”

    People pay for what they do, and still more, for what they have allowed themselves to become. And they pay for it simply: by the lives they lead.

    James Baldwin, Nobody Knows My Name

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  • Waffability

    As the weather turns wicked, my automotive thoughts turn to something other than the utilitarian SUV. Or even, for that matter, the overweighted blinged out luxurious SUVs of today. My thoughts turn instead to luxury–pure luxury as it was once defined.

    Of course what makes a luxury car truly luxurious is harder to answer in an era when your average Honda rides as quietly as a Rolls Royce of the David Olgilvy era.

    Ah, yes, but have you actually ridden in a Rolls? Or, perhaps, a Mercedes prior to 1993–which, of course, was the last Big Benz engineered to spec, not cost. Both of these cars offered what Henry Royce called “Wafability.” This is a peculiar British affectation for the effortless, silent quality with which a classic Rolls (or Benz for that matter) accelerates.

    While a Rolls Royces in good kit is overpriced and hard to service for the every day driver a twenty year old Benz with a good service history will provide you with the pleasures of an endlessly flat torque curve without trimming down your bank account.

    I cannot say the same for Lexus.

  • No Comment Department

    In the Strib this morning was a photo of a Marine outpost in Iraq. On an interior wall was hand written the following: “America is not at war. The Marine Corps is at war. America is at the Mall.” (Sorry, photo is not online that I can find.)

    Also, on the Strib’s website today, The Most Read and Emailed Story top spot is held by: “Anna Nicole Smith’s death a ‘medical puzzle’”.

  • Parked

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    I have a semi-quiet Saturday ahead of me so I’m a little excited to park myself at the kitchen computer with a steamy cup of French Roast and a slice of pumpkin bread while I catch-up with my food writer reading…

    TONY rules, does he not? And thank goodness Michael Ruhlman allows him space to rant about all the gloriously eeeewy things on the Food Network.

    Have we spoken of Orangette? Or have I been keeping that one for myself? I have to admit I am a little bit in love with Seattle Molly. And she’s one of the good bloggers who actually deserves the book deal she’s got cookin’.

    I’ve been meaning to get the whole story on the Annie’s vs. Kraft mac n’ cheese discussion on Megnut. It’s a hot topic in my house because the kids sneak the Spongebob adorned Kraft boxes into my cart when I’m not looking, and they find Annie’s to be OK, but how do you fight crack-laced Spongebob?

    I am seriously delinquent on my Grub Street patronage.

    The re-design of Chowhound/CHOW mag has had loyalists in a quite a twist. I haven’t had time to really dig.

  • Disturb Your Valentine This Weekend

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    Blue Velvet, 1986. Written and Directed by David Lynch. Starring Kyle MacLachlan, Isabella Rossellini, Dennis Hopper, Laura Dern, Dean Stockwell (freaking unbelievable), Brad Dourif, Hope Lange, George Dickerson, and the original Eraserhead, Jack Nance.

    Now showing in a new 35mm print at the Oak Street Cinema.

    Valentine’s Day is Wednesday next, and it’s customary to celebrate on the exact day, surprising your gal or guy with something sweet on that oh, so sugary day. A bouquet of flowers showing up at work, a package of Russell Stover candies with the edges turned gray from age, a card you picked up at the SuperAmerica, maybe you make dinner or pick it up at Applebee’s. Then again, it might be beneficial to really tear it up on Saturday, to enjoy your festival of romance on the weekend. To celebrate, and celebrate late into the night. Have yourself a nice dinner at some joint and then, at 9:15 walk hand in hand past the inebriated college students wandering from Sally’s or Stub and Herbs and check out the best movie in town this weekend: Blue Velvet.

    Consider: what else are you going to see? You artsies could end up checking out Jude Law going down on Juliette Binoche in the flawed Breaking and Entering and afterwards enjoy a glass of fine wine in Uptown, and ruminate over what you just saw. Flip through the paper, check out the online listings, and there ain’t nothing but movies you should have seen two weeks ago, horror, and some silly romantic comedies that’ll only make you feel as if love is something that comes in a Reddy Whip can.

    Blue Velvet’s the exception. And, oh, is it the fucking exception. Something tells me most people haven’t seen it on the big screen, that giant blue velvet curtain swaying in the opening credits, almost a sexual thing in itself. The colors, the performances, Rossellini’s Dorothy Vallens stark naked and terrifying, a scene that not only will trouble you at night, but troubled the townsfolk where they filmed this masterpiece, and ended Lynch’s ability to film on the streets. Almost wrecked the picture, it did.

    You’re going to be disturbed by Blue Velvet, you and your date. You’re going to go home wondering why your mate took you to this run down theater, what the living hell they were thinking, Dennis Hopper’s Frank sucking down that nitrous, that ear covered with ants, that God-damned white-faced Ben (Dean Stockwell), crooning–

    A candy-colored clown they call the Sandman
    tiptoes to my room every night
    just to sprinkle stardust and to whisper
    go to sleep
    everything is all right

    Everything is far from all right, especially when Dennis Hopper’s Frank interrupts the singing to slug the hero and shout “I’ll fuck anything that moves!”

    I’ll spare you the rest of the plot. If you don’t know it, you should, and if you don’t, you’ll be all the more freaked. Which is just what Dr. Phil ordered.

    So why not put some spice into the relationship? To go home, staring at your partner out of the corner of your eye. She seemed a bit turned on by that rough play between Kyle and Isabella… Did he think Dennis Hopper was cool? The guy’s a rapist, for Christ’s sake… What the hell was my boyfriend/girlfriend thinking? Those little tests endear us to one another, my friends. A restless night’s distrust is good for the soul, and sharpens the blade of love.

    Above all, Blue Velvet is a stunner, and a must-see on the big screen, where Frank and Jeffrey and Sandy and Dorothy all loom larger than life, and stomp merrily into your nightmares. Nightmares are good–they make you curl up in the late hours with your loved one. They make you appreciate the waking hours, appreciate the familiar warm touch of your spouse’s back. What other movie will help you to appreciate that special someone like Blue Velvet?