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Diego Kelly Gets A Glimpse

Think of this as a fable or a fairy tale, but whatever you do, don’t think this could possibly be true.

Diego Kelly is sixty-four. He has an older sister Luisa and a younger brother Juan. Their mother Maria was a hairdresser, their father Jerome a forklift operator. Diego and his siblings were born in Gilroy, California and called Gilroy home until their parents divorced when Luisa was twenty-five, Diego twenty-three, and Juan twenty. After the divorce, their mother moved to Fort Bragg, California while their father stayed in Gilroy.

Diego learned to play the guitar when he was six. From then on, until four months ago, writing songs was the central focus of his life. He dropped out of college after two years and moved to Los Angeles where he pursued a music career until he was thirty-three and discovered that several of his songs had been recorded by other recording artists claiming to have written his songs. Four of those stolen songs became huge hits, and when Diego’s many attempts to prove he’d been ripped off came to naught, he had a nervous breakdown.

Thereafter he lived with his mother in Fort Bragg until she died when Diego was forty-seven. She left him her little house and that’s where he lives today with his brown mutt Zero, his orange tabby Twyla, and his black tabby Magdalena. He makes his minimal living as a counterperson in a coffee house and until four months ago he had never in his life stopped playing his guitar and writing songs.

Important things to know about Diego are that he is kind and generous and friendly and fully recovered from his nervous breakdown, though he still sometimes feels mighty sad about having his songs and a successful career as a musician stolen from him.

So…

On a cold October evening after a long day behind the coffee house counter, Diego is in the kitchen of his commodious little house making quesadillas and guacamole and drinking a beer when someone knocks on his front door. Thinking the knocker must be Stella, a lovely woman he’s been courting for six months now without much success, Diego calls, “Come in” and the door opens admitting a most unusual person who is not Stella.

We will use the pronoun she when referring to the unusual person, though she is not obviously male or female. She is tall and strikingly beautiful, entirely bald, the dome of her skull perfectly round, her sparkling blue eyes enormous. She is wearing a gray tunic giving no hint of breasts, and black jeans giving little hint of hips, yet her facial features and the graceful way she moves makes Diego think she is a woman.

“Hello,” says Diego, hoping his visitor isn’t crazy. “May I help you?”

“Diego Kelly?” says the unusual person, her voice deep and giving no hint of gender.

“Yes?” says Diego, using the gentle tone of voice he uses when dealing with unhinged customers he occasionally encounters in the coffee house. “Who are you?”

The unusual person blinks three times and says, “Zah.”

At which moment Diego’s dog Zero enters from the backyard through his dog door, looks at Zah, and quite uncharacteristically does not bark or growl.

Zah smiles at Zero and says, “Dog.”

“You got that right,” says Diego, smiling curiously at his unusual visitor. “Here’s the situation, Zah. I’m in the middle of making supper and expecting a friend to arrive any minute, so…”

“No one will arrive,” says Zah, gazing intently at Diego. “Your time is suspended.”

“Okay,” says Diego, now convinced his visitor is a bit off kilter. “What can I do for you, Zah?”

She gestures to Diego’s sofa. “Join me on your cushion and I will explain.”

Diego takes a moment to assess Zah, and feeling no threat from her says, “Would you care for a beer?”

Zah blinks three times. “No thank you. Join me on your cushion and I will explain.”

Diego carries his beer to the sofa and sits down.

Zah crosses the room and sits next to Diego.

Diego waits for Zah to speak.

“You have not played your guitar in four of your moon cycles,” says Zah, gazing at the fire crackling in Diego’s fireplace. “You were writing a new song and stopped playing.”

Diego freezes. No one in the world knows he stopped playing the guitar four months ago, and no one in the world knows he stopped writing a new song.

“How do you know that?” he asks with a tremble in his voice.

“All is known,” says Zah, nodding. “Every sound is heard. Why did you stop writing your song?”

“Well…” says Diego, remembering the precise moment he put down his guitar and gave up on that oh so beautiful song. “I didn’t see the point in writing yet another song no one will hear. Or another song only a few people will hear because I force them to listen to me. I’m done with that. I’ve written hundreds of good songs. All for nothing. Why write another?”

“Your new song will be a vital thread,” says Zah, her voice full of urgency. “Your one hundred and sixty-seven songs are each vital threads. You are heard throughout the universe. Please resume writing your songs.”

Diego laughs. “Oh I get it now. I’m dreaming. A lucid dream. I love these. Excuse me while I make love with Stella and she won’t care I’m a pauper.”

Zah blinks three times. “You are not dreaming. Your song is a vital thread. Please resume writing your song. I will give you…” She blinks three more times. “What do you want, Diego Kelly? Tell me what you want and I will give it to you and you will resume writing your song.”

Diego places a hand on his heart and says sincerely, “All I ever wanted was for people to hear my music and… love me.”

“Your music is heard throughout the universe,” says Zah, nodding. “Your music provides vital threads in the Zantar Dimension, the Gorzoi Complex, the Zintaphor Range, and the Rezmigal Vortex. Without your vital threads the Borzon Cascade cannot…” She blinks. “Function.”

“Oh gimme a break,” says Diego, hot with anger. “I’m heard throughout the universe but not here on earth?” He glares at Zah. “I don’t know who you are or how you knew I gave up on that song, but I’m done writing songs nobody hears. Now get out of my house.”

Zah rises. “I will go now. You cannot be replaced, but if you will not resume writing your songs we will find other ways to continue. Know this, Diego Kelly. Universe created you to write songs to be vital threads. That is why you are here now in your body. Goodbye.”

And Zah disappears.

“Wow,” says Diego, getting up from his sofa and returning to the kitchen. “Doesn’t get much weirder than that.”

Now Stella arrives and gives Diego an unexpectedly long and loving hug followed by a tender kiss.

“To what do I owe…” begins Diego.

“You’re just the greatest,” says Stella, kissing him again. “Why I didn’t kiss you four months ago, I’ll never know.”

fin

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Huckleberries

turn left at the moon tw

Turn Left At the Moon painting by Nolan Winkler

“For when you see that the universe cannot be distinguished from how you act upon it, there is neither fate nor free will, self nor other. There is simply one all-inclusive Happening, in which your personal sensation of being alive occurs in just the same way as the river flowing and the stars shining far out in space. There is no question of submitting or accepting or going with it, for what happens in and as you is no different from what happens as it.” Alan Watts

If even half the blossoms on the huckleberry bushes in the Mendocino area this year become fruit, then the huckleberry harvest will be by far the greatest since I moved here eleven years ago. Bushes on our property and in the surrounding woods that previously sported no blossoms or only a few are now white with hundreds and thousands of the lovely little bell-shaped flowers. And friends in nearby Albion report the huckleberry bushes thereabouts are also heavily freighted with flowers.

My guess is that the great rains of this seemingly interminable winter following four years of drought inspired the huckleberries to such prolificacy, though we must be careful not to celebrate too soon. Those myriad flowers must be pollinated, and the primary pollinators of huckleberry bushes are bumblebees; and the bumblebee population has been in decline due to the use of pesticides that should never have been invented, let alone deployed.

Alas, even if you and I and our close neighbors don’t use those ghastly poisons, it only takes a few shortsighted fools in the watershed spraying their shrubbery with bad stuff to decimate the bumblebees and honeybees in our area. Thus the fate of those blossoms is, literally, in the hands of fools and which way the winds blow.

But assuming we do have a bumper huckleberry crop, a few days of picking will fill our freezer with the dark little orbs for smoothies and pancakes and crisps throughout our next winter. And if the harvest is truly epic, we will make great quantities of jam and not have to wonder what to give our friends for Christmas this year.

Whenever I see huckleberries on their bushes, and especially when I am standing by a goodly bush grazing on the delicious fruit, I think of two novels by Elizabeth Marshall Thomas, Reindeer Moon and The Animal Wife. These marvelous books are about a small population of hunter-gatherers living in Siberia 20,000 years ago, when wooly mammoths still roamed the earth and wolves were yet to be domesticated. And in each of these books there are vivid scenes in which bushes of wild berries are all that save the people from starvation and dehydration.

We think of the wild huckleberries hereabouts as delicious additions to our store-bought main courses, but twenty thousand years ago, such berries might have been the only thing we could find to eat for days on end, and we would have been gleeful to see the bushes as laden with blossoms as they are in Mendocino these thousands of years after the last wooly mammoth succumbed to human hunger.

I am currently reading a collection of intoxicating essays entitled Sightlines by Kathleen Jamie, a Scottish poet with a most intriguing way of writing about birds and stones and landscapes and the ocean. Published in 2012, two of the longer essays in this volume are about remote islands—St. Kilda and Rona—off the coast of Scotland. Jamie writes with exquisite sensitivity about the birds and plants and seals that live on these islands, and the killer whales patrolling those seas. Inhabited by humans for hundreds of years, these islands are no longer home to any people, with only the decaying ruins of the old colonies remaining.

For me, Jamie’s collection of essays composes a deep meditation on the interaction of humans with the natural world, and how that interaction has evolved into estrangement for most of us, though we need not be estranged. Jamie is obviously enmeshed with the natural world, and her essays show us how we might experience ourselves as integral parts of the fantastical whole of life on earth.

I’m hoping the local huckleberries will set in profusion and turn darkly purple and come to taste of divine earthly sugars, so I may stand in the dappled forest light and eat my fill as I give thanks to the nature spirits for bringing me the boon of life.

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Crisis & Opportunity


* Sally holding Molly 9-1 - 10-6 & 12-15-2013 email

Sally Holding Molly photo by Bill Fletcher

(This article was written for the Anderson Valley Advertiser January 2014)

“When written in Chinese, the word ‘crisis’ is composed of two characters. One represents danger and the other represents opportunity.” John F. Kennedy

According to Chinese philologists, President Kennedy’s famous assertion about the Chinese word for crisis is either untrue, not entirely true, or true under certain linguistic circumstances but not under others. In any case, this now popular idea always reminds me of challenging situations in my life that proved to be opportunities for creative inventiveness.

“I’m trying to use the language of today to express a general existential crisis that I think the world and I are going through.” Sean Lennon

In 1967, when I was a senior in high school and intending to grow up to be a star of stage and screen, I landed one of the leads in the Woodside High production of the not-so-great musical Take Me Along, based on Eugene O’Neil’s play Ah, Wilderness. The musical ran on Broadway from 1959 to 1960 and starred Jackie Gleason and Walter Pidgeon. I got the Walter Pidgeon part and Joe Tiffany got the Jackie Gleason part, though I was far more Jackie Gleasonish than Joe, and Joe was far more Walter Pidgeonish than I. However, this was a high school production wherein teenagers impersonated middle-aged adults suffering midlife crises; thus the entire play was miscast.

You may recall the title song Take Me Along because the tune became an annoying advertising jingle for United Airlines in the 1960’s. Take Me Along was the show’s only remotely memorable song, though I enjoyed singing my big solo number I’m Staying Young, a song in which my character laments everyone else growing old while his character is determined to stay young, speaking of ironic poignant existential hokum sung by a horny seventeen-year-old virgin hoping to seem convincing as a fifty-five-year-old grandfather.

Existential hokum aside, the climax of the entire show was the song Take Me Along performed as a bouncy upbeat duet sung by the Jackie Gleason and Walter Pidgeon characters while they executed a good old smile-provoking tap dance routine. I don’t know about Jackie and Walter, but Joe and I were vomitously bad dancers, and no matter how many hours we put in with the choreographer (the sweet but wholly inept Miss Stewart) we sucked. Or as we liked to say in those innocent days of late adolescence, “We sucked raw turkey eggs.”

The rest of the production was pretty okay, and our singing of Take Me Along was fine, our harmonies solid. But our dancing was beyond awful, so much so that we never once made it through the entire routine without screwing up, and that included our dress rehearsal performance, which was so painfully grotesque that even the two-hundred drama groupies assembled by the director to cheer us on were stunned and horrified by our colossal ineptitude.

“The crisis of today is the joke of tomorrow.” H.G. Wells

So we spent two more hours after that dress rehearsal and two hours just prior to the opening night performance practicing the dance routine, but rather than improve, we got worse. Miss Stewart smiled bravely and declared, “I’m sure it will come together when you do the dance in the context of the play.”

When Miss Stewart was gone, I said to Joe, “It will never come together, and we both know it. So here’s what I propose. We do our best not to fuck up, but when we do, we improvise. Okay?”

“But we almost got it,” said Joe, giving me a terrified look. “Let’s just…try to get it.”

“Faced with crisis, the man of character falls back on himself. He imposes his own stamp of action, takes responsibility for it, makes it his own.” Charles de Gaulle

The first act of Take Me Along went off without a hitch. The orchestra sounded plausibly orchestral, no one forgot his or her lines, and the audience seemed mildly appreciative. Yes, the production was deadly dull, but the second act rambled along without disaster until we came to that moment we’d been dreading—our climactic Take Me Along duet and tap routine.

Joe and I moved to the front of the stage, the curtain closed behind us, and we were illumined by spotlights that would follow us around the stage for the duration of the number. Joe winked at the conductor and said, “Maestro, please,” and as the orchestra began to play, two straw boater hats and two white canes were handed up to us from the orchestra pit. We popped those hats on our heads at rakish angles, tucked those canes under our arms, and off we went.

After a few moments of roughly synchronized approximations of tap dancing, and as predicted…we fucked up. Badly. So I launched into a goofy Groucho Marx kind of dance, spinning and sliding and twirling my cane and hamming things up, while Joe doggedly and gracelessly tried to remain faithful to Miss Stewart’s clunky dance routine. And something about what we were doing—perhaps the ridiculous juxtaposition of elements in tension—struck the audience’s funny bone and we brought the house down. Thunderous laughter shook the auditorium, and as we hit the harmonic bull’s eye with the last notes of the song, five hundred people jumped to their feet and applauded for so long we had to come back out for an encore of me sliding and twirling around while Joe relentlessly butchered Miss Stewart’s dance and the orchestra repeated the last few bars of the song.

And though our ridiculous pas de deux unquestionably lifted the show out of the trough of mediocrity into the realm of sublime silliness, Miss Stewart was terribly upset by our failure to adhere to her choreography. Joe apologized profusely to her and promised it (whatever it was) would never happen again. Fortunately, it happened five more times and saved five more shows. Sadly, the one and only time we managed to sort of get through the routine as we were kind of supposed to, the response from the audience was exactly what we’d gotten at the dress rehearsal—embarrassed silence followed by a smattering of disingenuous applause. But every time we fucked up and I improvised and Joe doggedly tried to get the steps right, the audience went insane with laughter and stomped and clapped and cheered until we had no choice but to come out for a curtain call.

 “There cannot be a crisis next week. My schedule is already full.” Henry Kissinger

Darwin suggested that evolution is a progression of genetic responses to environmental crises; and most scientists, until quite recently, believed that those genetic responses resulting in new physical traits and new behaviors were chemical and random. But now a growing number of epigenetic researchers posit that some or all of these genetic responses are actually choices made by something (what, where, how?) that directs genetic potentiality in a less than purely random way, even, perhaps, as a conscious response to crisis.

Nonsense, Todd, you magical thinking dimwit. Go wash your mouth out with soap and write five hundred times: The Universe does not think. Everything that happens is the result of random chemical centrifugal fractal accidents guided by unfaltering principles that we narcissistic humans actually think we understand, even though we don’t.

 “There are two principles inherent in the very nature of things—the spirit of change, and the spirit of conservation. There can be nothing real without both.” Alfred North Whitehead

A few years into my eleven-year sojourn in Berkeley, I ran out of work, ran out of money, and found myself the sole support of a woman slowly recovering from a nervous breakdown and her unemployed teenaged daughter and two cats, not to mention moi. As a consequence of this wholly unanticipated crisis, and with three weeks to earn enough to pay the usurious rent while continuing to buy groceries, I spent three days and nights trying to drum up editing work. Failing there, I wracked my brains to think of someone, anyone, I could borrow money from, and when I could think of no deep pocket to implore, I got so panicky I ran out the front door, down the nine steps, and along the sidewalk until I was out of breath and slowed to a walk and asked the unseen powers of Universe, “What am I going to do?”

Then I stopped, turned full circle, took a deep breath and turned full circle again. And as I made that second revolution, I saw not one, not two, but five fruit trees in need of pruning. I had not pruned trees for money in nearly two decades, but as I walked home to get my notebook, I felt overjoyed at the prospect of resuming that line of work. I then slipped handwritten notes under the doors of the three houses attached to those five trees in need of pruning. The notes mentioned the specific trees I felt needed attention, identified me as a neighbor who would expertly prune those trees at a reasonable rate and/or be happy to give advice and free estimates for my services. Universe apparently dug where I was coming from because the phone began to ring and I never lacked for work again.

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Flow

(This article first appeared in the Anderson Valley Advertiser August 2011)

“Flow with whatever may happen and let your mind be free. Stay centered by accepting what you are doing. This is the ultimate.” Zhuangzi

Something happened to me a few days ago the likes of which hadn’t happened to me in eons. I was shooting hoops at the elementary school, playing alone, as is my custom now that I am deep into middle age and easily injured, when I became aware that I was caught up in an extraordinary flow of action involving my body, the ball, the air, the backboard, and the hoop. I think this was what sports commentators mean when they say a player is “in the zone,” playing with seeming effortlessness, yet playing superbly and flawlessly for an extended period of time. A frequently used adjunct comment to saying a player is “in the zone” is “he’s unconscious.”

That adjunct comment turns out not to be true, because the cool thing about being in the zone, and this has been corroborated by many athletes speaking about their in-the-zone experiences, is that they were not unconscious, but rather fully aware of being in the zone yet not consciously controlling what they were doing. That is to say, they were not conscious of making decisions about what to do next while they were caught up in the flow of action because they were, in essence, inseparable from the flow of everything going on.

It is also true that the more practiced and skillful an athlete, the more easily and often she will find herself in the zone; zone being a misnomer since it is not really a place, but a state of being. My in-the-zone moment was probably the result of playing more often these past few months when school has been out and my access to the courts has been unlimited.

My experience of being inseparable from the ecstatic flow began with the awareness of the ball coming into my hands as if thrown to me by an invisible cohort, the ball leaving my hands as if self-propelled, the ball arching high into the air and tumbling down through the center of the hoop, the ball returning as if passed to me by that same invisible friend, my body dancing back from the hoop to a distance I usually, consciously, avoid, the ball leaving my hands again, arching high, smacking through the net, on and on, dozens of times without a miss from near and far, until I had the thought, “This is so fun!” and the ball caromed off the rim into the weeds.

“As far as I’m concerned, the essentials of jazz are: melodic improvisation, melodic invention, swing, and instrumental personality.” Mose Allison

Musicians, artists, dancers, inventors, thinkers…all creative people aspire to be in the zone.

“Memory is funny. Once you hit a vein the problem is not how to remember but how to control the flow.” Tobias Wolff

On the way home from my in-the-zone experience on the basketball court, I fell into a memory of my largest (in terms of numbers of dollars) experiment with money. I was a pauper by American standards from 1969 when I dropped out of college until 1980 when I made what was for me a small fortune through the sale of the paperback rights to my first published novel and the simultaneous sale of the movie rights to the same novel. Shortly thereafter, I paid a large amount of income tax, moved to Sacramento, and bought the only house I’ve ever owned. And then in 1984, just as my movie money was running out, I got married and resumed my practice of making just enough to get by.

Then in 1995, hot on the heels of my divorce and the concurrent disappearance of my house, I made the second small fortune of my life through the unlikely sale of a one-year option on the movie rights to my obscure novel Forgotten Impulses, published in 1980, for one hundred thousand dollars, and the even more unlikely sale of my novel Ruby & Spear to Bantam for twenty-five thousand dollars. In the case of Forgotten Impulses, no movie was ever made, and in the case of Ruby & Spear, Bantam took the wonderful book out of print the day it was published (though copies of both novels can still be found on the interweb for pennies, and you may listen to me read Ruby & Spear (and play all the different characters) at Audible or iTunes). But in any case, I suddenly had, by my standards, another large pile of money.

And I decided to give this second fortune to favorite friends who had very little money and would greatly appreciate some cash. Having spent much of my first fortune on myself, a strategy that brought me little joy and much sorrow, I was curious to see what would happen if I shared my wealth. My hope was that in giving away my fortune I would be priming the cosmic pump, so to speak, which priming would eventually bring me even more money.

As it happens, giving away a fortune in America is not as simple as simply giving money away. First of all, one must pay a large portion of the fortune to the federal and state governments, and this portion is especially large if one is not in the habit of making big sums of money and does not have shelters and deductions and depreciations and such to mitigate the taxes owed. Not wanting to go into debt, I called my accountant and, despite his good-natured assertion that I was insane, we figured out I could give away seventy-six thousand dollars and still have enough left over to pay the taxes I owed, make an impressive contribution to Social Security, and have a few thousand dollars left for rent and food and a new basketball. So I made a list of people I wanted to give money to, most of them artists and poets and musicians working at low-paying jobs while painting and writing and making music and hoping for big breaks such as the two big breaks I’d gotten, and I gave them each two thousand dollars.

Some weeks after mailing out those thirty-eight checks, I got a postcard from Paris from one of the recipients informing me that on the day she got my check she bought a round trip ticket to Europe, packed her bags, and, as she wrote, “I knew it was now or never, so I went for it. Merci!” Another recipient sent me a list of how she spent her two thousand: one thousand donated to a non-profit organization dedicated to spaying feral cats, three hundred for art supplies, six hundred and fifty rent, and fifty bucks on expensive coffee beans. Several recipients said they felt weird taking money from me and wanted to give the money back. When I insisted they keep the cash, they all seemed mightily relieved. And most fascinating to me were the four recipients who never said a word to me about receiving the money, though cancelled checks confirmed they had, indeed, gotten the loot.

Did my giving away my small fortune prime the cosmic pump as I hoped it would? I assume so, though my income for the next several years remained barely adequate to cover rent and vittles, and the Internal Revenue Service did audit me for that year because of what my auditor called “an unlikely income spike.” But money, after all, is not the only measure of how Universe indicates her support for what we do and how we do what we do.

“My hand does the work and I don’t have to think; in fact, were I to think, it would stop the flow.” Edna O’Brien

So today I’m sitting on a bench on the terrace at the Presbyterian, summer fog cloaking the village, and I overhear the following snippets of conversation going on two benches away where six people, four men and two women, are passing pot pipes around and shooting the breeze.

Woman #1: Dude. You were married? For real?

Man #1: So, yeah, I was like totally married. Only she was like thirty and I’m like six years younger, so she just didn’t get me, you know? Like we were from totally different generations.

Woman #1: So are you like…divorced?

Man #1: Totally.

Man #2: Hey, where have you been? Nice shoes.

Woman #2: I was, you know, in LA and like…now I’m out on fifty thousand dollars bail.

Man #2: Dude. Fifty thousand. What did you do?

Woman #2: Lots.

Man #1: Pot?

Woman #2: No. I said lots. Credit cards and shit.

Man #1: Whoa, Dude. I thought you said pot.

Woman #2: No and one of the big credit card things was totally not mine, so…

Man #1: You want to smoke some hash on top of that?

Woman #2: Sure. Why not?

Woman #1: Totally, dude. Go with the flow.

Todd’s web site is UnderTheTableBooks. com

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Thus Spake Angelina

(This essay first appeared in the Anderson Valley Advertiser June 2011)

“Rejoice in the things that are present; all else is beyond thee.”  Montaigne

I used to hate it when I predicted something long in advance of when it happened, and then no one remembered I predicted it or believed me when I insisted I predicted the thing. And I used to really hate it when I invented something but didn’t bother to patent it because I didn’t have the money or the time or the personality, and then someone else found out about the thing I invented and they patented it and became filthy rich from my invention. But now I don’t mind when people don’t believe I predicted important things before they happened. Nor do I mind when people get rich and famous from my inventions. And here’s why.

The writings of my hero Buckminster Fuller convinced me it was a colossal waste of time to worry about people stealing our ideas or not believing us because ultimately the universe (transcendent of human pettiness and ignorance) responds appropriately and exquisitely to our thoughts and actions regardless of whether we own the patents on the lucrative inventions or whether people believe us.

For instance, I invented snail tongs. Yep. That (those) was (were) mine. I knew I would be ripped off (just as I know you don’t believe me) and that’s why I wrote up the invention several years ago, made precise drawings of the device, and sent the write-up and drawings to dozens of gardening supply catalogs, garden tool inventors, and a few hundred people selected randomly by using pages torn from phone books, darts, a blindfold, and the appropriate incantations. The rest, as they say, is history. Snail tongs, with or without teak handles, and with or without the accompanying snail bucket (with Velcro pad or dainty hook for connecting to your gardening belt) are now de rigueur for serious gardeners who don’t like to get slimed whilst plucking mollusks from precious garden plants.

I have no idea how the universe has reacted to the invention of snail tongs. Just because people have made millions from selling snail tongs and now live in abject wealth because of those sales doesn’t mean snail tongs are a good idea. Indeed, the universe may be withholding from me great gobs of money and success and access to daring and creative publishers and brilliant green-lit movie producers because I loosed snail tongs on the world. After all, expensive snail tongs (not the ones made entirely from recycled materials) use valuable natural resources that would be better left in the ground. To be quite honest, I now regret letting anyone know about snail tongs. But I was so curious to see what would happen, I couldn’t keep from letting the tongs out of the bag, so to speak. Fortunately, no one believes me, so I am at least safe from persecution by humans for that crime.

“Remember, Ginger Rogers did everything Fred Astaire did, but backwards and in high heels.” Faith Whittlesey

Note the date. June 29, 2011. I predict that Angelina Jolie, the famous movie star, will become the first female President of the United States. When? I’m guessing 2020, but possibly 2016. Why do I make this prediction? Because everything she has done and is doing, and everything that has happened and is happening in terms of the evolution of mass media, the state of the world, and the exigencies of fate (I love that expression) lead me to believe Angelina’s ascendancy is virtually a done deal.

If you think I’m crazy, please view recent video clips (easy to find on the internet) of Angelina visiting Syrian refugees in Turkey or flood victims in Pakistan (and wearing the traditional garb of the women in those locales) or more recently paying tribute to the inhabitants of the Italian island of Lampedusa for giving aid and comfort to boat people refugees from the strife-torn Middle East. Wherever she goes in her role as a goodwill ambassador for the United Nations, Angelina, without a script, speaks eloquently, knowledgably, compassionately, and with charismatic strength on behalf of the refugees, and refugee women in particular. She has also adopted three children and raised them along with three children she’s had with her movie star and politically sort of left and totally supportive (so far) husband. Angelina is picky about the roles she takes, refuses to play bimbos, is on the verge of portraying Cleopatra in a movie that will probably cost more to make than the Gross National Product of Belgium, and recently directed a serious romantic drama set during the siege of Sarajevo. In other words, she is a beautiful, articulate, feminine feminist; she knows what’s going on and she’s nobody’s fool.

By 2016, the world will be firmly in the grip of widespread social and environmental chaos, at which point Angelina will be forty-one and ready to answer the call of billions of women and poor people and smart people chomping at the bit to make the great global transition to universal socialism, free healthcare, disarmament, material minimalism, and gluten-free dining. I will serve in Angelina’s cabinet if she will have me, but only if I can do so from my home via weekly essays.

“The best way to predict the future is to invent it.” Alan Kay

I also invented the bandarang. Yep. That was mine, too. Forgive me if you’ve been bopped by one of the larger ones whilst minding your own business at the beach. Yes, I should have foreseen they’d turn the wonderful thing into yet another tool of competition and consumerism, though you must admit that some of the things people do with bandarangs are absolutely mind-boggling. Sadly, I was recently informed that the military is developing explosive bandarangs as well as new stealth aircraft employing bandarang aerodynamics.

Okay. I know what you’re thinking. You invented the bandarang, Todd? Then why aren’t you rich as Croesus and producing your own movies? Well, because I gave the idea away, just as I gave away the idea for snail tongs and several other inventions you won’t believe I invented. And I gave them away because along with being a devoted follower of Buckminster Fuller (see above theory of adjudication by Universe), I am also extremely lazy regarding anything requiring contracts, lawyers, or government bureaucracies; and though I knew bandarangs would be popular, I never imagined they would be voted Thing of the Century by the Union of Unconcerned Hedonists.

You may be interested to know that I didn’t so much invent the bandarang as discover it. Wikipedia erroneously reports that the inventors of the original bandarang were competing teams of nerdy dweebs at Harvard, MIT, and Oxford circa 2007-2011 using computer modeling and origami brainstorming to perfect the design, but that is hokum. It was I alone standing in the shallows of the American River (up to my knees in the icy flow) in Sacramento on a blistering hot day, August 17, 1989, who first discovered/invented the bandarang.

I had just lost another Frisbee to the swift current. Feeling bereft (as I always do when I lose a Frisbee to a river or the ocean) and wanting to continue playing with the wind, I rummaged in my knapsack and found a large rubber band—three inches in diameter if spread open to approximate a circle. I carried the rubber band with me into the aforementioned shallows, and using the thumb of my left hand as fulcrum, I shot the rubber band almost-but-not-quite straight up in the air. When gravity halted the flight of the projectile some thirty feet above the blessed waters, the elongated band contracted and relaxed into the form of a circle, which, in the dainty breeze, rotated counter-clockwise as it drifted back to earth and settled gently around my upraised index finger. Thus was born the banderang.

On September 9, 1999, after a decade of intermittent experimentation, I settled on an optimal size and weight (and color: neon orange) of rubber band, angle of launch depending on breeze coefficients, etc., wrote a clear description of the bandarang, made precise drawings, and sent forth packets of the salient information to Harvard, MIT, Oxford, and myriad toy manufacturers.

On April 13, 2012, a twelve-foot-long bandarang (flaccid) will be stretched by a pneumatic traction crane to a length of two hundred and thirty-seven feet using a top corner of a thirty-story office building in Oakland, California as fulcrum, and shot up and out over San Francisco Bay. The neon orange, seventy-seven-pound rubber bandarang, with finely tapered edges coated with micro-thin Teflon, will attain an altitude of 1778 feet and a rotational speed of 174 revolutions per minute, catch a friendly westerly breeze, travel 3.7 miles, and gently (erotically) settle upon a phallic obelisk on Treasure Island to the roaring approbation of eighty thousand giddy bandarangists (also known as rubberoos) gathered on the island to greet the mythic rubber ring.

“What a distressing contrast there is between the radiant intelligence of the child and the feeble mentality of the average adult.” Sigmund Freud

June 29, 2011. I predict that the ongoing nuclear disaster at Fukushima marks the beginning of the end of nuclear power (and eventually nuclear weapons) on earth. Safety and decency, however, will not be the reasons the powers-that-be finally grok the insanity of nuclear power. No. What will ultimately tip the balance in favor of livingry (a term coined by Buckminster Fuller to mean the opposite of weaponry) will be the stunning decline in male fertility brought about by the enormous and continuous release of radiation and radioactive particles from Fukushima and other soon-to-be-announced failing nuclear reactors around the world.

As the human population begins a precipitous (and ultimately fortuitous) decline, trillions of dollars will be diverted from weaponry and needless pharmaceuticals and worthless hedge funds and earth-killing genetically modified grain growing into the male-dominated fear-driven medical industrial complex to find a cure for sterility, resulting in the ultimate realization that the best way to keep human love goo viable is to entirely clean up our act, environmentally and emotionally speaking, and never again, one earth under Angelina with liberty and justice for all, ever foul our nest again!

Todd’s books and music and a blog archive of 117 AVA essays are available at UnderTheTableBooks.com

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Creeping Up On God

(This essay first appeared in the Anderson Valley Advertiser February 2011)

So this guy goes to see a psychiatrist and after fifty minutes the psychiatrist says, “I think you’re crazy.”

And the guy says, “Hey, wait a minute. I want to get a second opinion.”

And the psychiatrist says, “Okay, you’re ugly, too.”

My father was a child psychiatrist. Until I was eight or nine, I had only vague notions of what my father’s practice consisted of. I knew he had a playroom adjacent to his office, and in that playroom there were board games and a sandbox and dolls and trucks and other cool things for kids to play with, and I knew my father wore a suit and tie when he interacted with these kids, and that he was sort of a doctor.

So this guy with a chicken on his head goes to see a psychiatrist, and the psychiatrist says, “What’s this all about?”

And the chicken says, “I don’t know. I woke up this morning and there he was.”

When I was in my forties, a childhood friend invited me to lunch with him at his mother’s house. After lunch, I called my father to let him know I’d be dropping by a little later. While I was on the phone with my father, my friend’s mother said, “Tell your dad he did a wonderful job with Marvin, and thank you.”

So I say into the phone, “Dad, Iris says you did a wonderful job with Marvin, and thank you.”

It turns out that Marvin, my friend’s younger brother, had gone to see my father a dozen or so times when he, Marvin, was seven and suffering from insomnia and sudden outbursts of rage. This was before the widespread use of drugs in psychotherapy, so my father treated Marvin with talk therapy and play therapy, and Marvin began sleeping well and his rage outbursts mostly went away.

Until my father was in his seventies and near the end of his time as a practicing psychotherapist, he rarely spoke about his clients to me, and he certainly never spoke about anyone we might know. I later found out that my father treated a number of my classmates, but I did not know this at the time of their interactions with him.

Thus I was mightily curious to know what my father had done to help Marvin, a person I knew pretty well. My friend said, “Marvin never told me.” My friend’s mother said, “I think they played cards and talked. Your father is a miracle worker.”

So when I got over to my father’s house, I said, “Dad, what did you do to help Marvin?”

My father sipped his coffee and frowned as he tried to remember back thirty-some years to his time with Marvin, and then he smiled and said, “Oh, yes. He had two much older brothers. They played Monopoly and cards and all sorts of games with him, but his brothers were merciless and never let Marvin win. No matter how hard he tried, Marvin couldn’t win, and he was so terribly frustrated that he began to act out, and he had nightmares as I recall.”

“So what did you do?”

“Well, as his mother told you, we played cards and Monopoly, and he talked about how he hated his brothers, and…I let him win.”

So this guy goes to see a psychiatrist and says, “Doc, my wife thinks she’s a refrigerator.”

The shrink says, “How long has this been going on?”

And the guy says, “Oh, about a week now, and I can’t sleep.”

“That’s only natural. You’re worried about her.”

“Well, it’s not so much that,” says the guy. “But she sleeps with her mouth open, and you know that light that goes on when you leave the door open? Shines right in my face.”

My junior high school brought together kids from two elementary schools, so there were lots of new kids to get to know, and the inevitable question of what my father did came up. And I will never forget my shock when I told a guy that my father was a psychiatrist and the guy replied, “Oh, a head shrinker, huh?”

“A what?” I said, dismayed.

“A head shrinker,” he repeated. “A shrink. Ugga bugga. Witch doctor.”

When I asked my father about the term shrink and the witch doctor reference, my father explained that there were many people (in 1960) who still thought psychiatry was hocus pocus nonsense. He said that many people thought that when a person went to a psychiatrist it meant the person was crazy; and many of my father’s patients were so ashamed about coming to see him that they did so clandestinely.

So these two psychiatrists are having lunch together, and one of them says, “Man oh man, I was having breakfast with my mother yesterday and I made the most incredible Freudian slip.”

“Oh, really,” says the other shrink. “What happened?”

“Well,” says the first shrink, “I meant to say, ‘Mom, will you pass the butter?’ But instead I said, ‘You bitch! You ruined my life!’”

We often wonder, my siblings and I, what our lives would have been like if our father had treated us and our mother as he treated his clients, with kindness and patience and compassion and acceptance. But we will never know, and that’s life.

So this priest is sitting in the confessional and a guy comes into the booth and sits down on the other side of the grill and says, “Bless me father for I have sinned.”

“I’m listening,” says the priest.

“I’m eighty years old,” says the guy, “and I’ve been married for sixty years and never once cheated on my wife. But yesterday I’m sitting in the park and this beautiful young woman approaches me and says she’s got a thing for older men and would I like to come to her apartment. So I go with her and we have fantastic sex for hours and hours and hours.”

“Heavens,” says the priest, taken aback. “How long has it been since your last confession?”

“Oh, I’ve never confessed,” says the old man.

“You’re Catholic and you’ve never confessed?”

“I’m not Catholic,” says the man. “I’m Jewish.”

“You’re Jewish?” says the priest, flabbergasted. “So why are you telling me?”

“Telling you? I’m telling everyone.”

I am Jewish, though I didn’t know I was Jewish until I was twelve. When my mother was growing up in Los Angeles in the late 1920’s and early 1930’s she was twice stoned by gangs of kids when they found out she was Jewish. Her parents changed their name from Weinstein to Winton in the 1930’s so they could get housing and my grandfather could get work more easily. Thus my mother learned to erase any overt traces of her Jewishness, married a non-Jew, and vociferously denied that she was Jewish for the rest of her life.

So these two cops are driving along and they see a nun walking to town. They know that the only nuns in the area live in a cloistered nunnery and never ever come out except in the direst emergencies. So they pull up beside the nun and one of the cop asks her, “Sister, anything wrong?”

“Indeed,” says the sister, nodding gravely. “The mother superior is terribly constipated and sent me to town to get her a laxative.”

“I’m sorry to hear that,” says the cop. “Can we give you a lift?”

“No, thank you,” says the sister, averting her eyes and continuing on her way.

A few hours later, the cops are driving that same part of their beat when they see the same nun walking back to the nunnery, and she does not appear to be steady on her feet. As they get closer, they see she is obviously drunk. They pull up beside her and the cop says, “Sister, you’re drunk. I thought you were going to town to get the mother superior a laxative.”

“I did,” says the nun, slurring her speech. “And when mother schuperior sees me, she’s gonna shit.”

My parents were alcoholics, but they did not appreciate jokes about drunks. Call it a coincidence, but my brother and I became avid collectors of jokes about drunks, and we took extreme pleasure in performing these jokes when we knew our parents were listening.

So there’s a rabbi living in New York City and one day he wakes from a dream and distinctly hears God say, “Rabbi Feinberg, go to the small Arkansas town of Redfern and carry on your work there.”

So the rabbi gives up his life in New York and moves to Redfern where there are no Jews. Having no money and no way to build a synagogue, the rabbi arranges with the Baptist minister to use their church on Saturday mornings. And every Saturday he carries out the duties of his office in an otherwise empty church.

One Saturday as the rabbi is preaching in the Baptist church, there comes a great storm and it rains so hard the town begins to flood. The Baptist minister comes rushing in and says, “Rabbi, sorry to interrupt, but they say the river could overflow her banks and seriously flood the town. Come with me to safer ground.”

“No,” says the rabbi. “God sent me here, if he wants to save me, he’ll save me.”

So the Baptist minister leaves and the river, indeed, overflows its banks and the town is soon four-feet deep in water. The Baptist minister returns in a rowboat and says, “Rabbi, get in. The upstream dam is about to break and the church will be entirely underwater.”

“No,” says the rabbi. “God sent me here, if he wants to save me, he’ll save me.”

So the Baptist minister rows away and the water continues to rise until it is up to the rabbi’s chin, at which point the Baptist minister returns in his boat and says, “Rabbi, please. Get in the boat or you’ll drown.”

“Nay,” gurgles the rabbi. “God sent me here. If he wants to save me, he will save me.”

Well, the Baptist minister reluctantly leaves, the water rises over the rabbi’s head, and he drowns.

Shortly thereafter, the rabbi arrives at the pearly gates, pushes past St. Peter and storms into God’s office.

“Why did you let me drown?” he cries. “You sent me to that town, so I went. I did everything you asked of me. I, your devoted servant, Rabbi Feinberg. So why did you let me drown?”

“For goodness sake, Feinberg,” says God, with a mighty shrug. “I sent the boat twice.”

My father was a fierce atheist. I tried to follow in his footsteps, but in my early thirties I had the first of several experiences that made it impossible for me to deny the entirely mystical nature of my life. Eventually, I got over my aversion to the word God, and now I use it synonymously with Nature, Universe, and Tim Lincecum.

Todd Walton’s web site is underthetablebooks.com