Saturday, January 03, 2026

Reviews and Bio

 

"The author’s prose is as outstanding as the story it conveys, with spare, raw dialogue and deft scene-setting that is descriptive without feeling overwrought. An excellent and moving collection." 
--on Horses All Over Hell, 2023

In J.T. Bushnell's Poets & Writers article "The Thousand Pages," he reflects on something Ryan said years ago: that he threw away a thousand pages of his first book, Down in the River, before he was done.


Great Review of Ryan's Story Collection in Canada's Miramichi Reader. Drew Lavigne is Poet Laureate of Moncton, New Brunswick, and serves on the editorial board at The Fiddlehead.
"This book is classic American fiction influenced by Flannery O’Connor, Raymond Carver, and Breece D’J Pancake. Blacketter’s style confidently takes its own place alongside these works; the clear elegant writing, the careful revelation of character, the subtle and moving transformations are the type of experience one can only access in great fiction. This book is certainly that."


Horses All Over Hell is a heartbreaking new book from a master of modern American fiction.”
—Ernest Hilbert, author of Last One Out, book critic for Wall Street Journal. Dust jacket blurb.
   


"What makes this novel so warm and heartbreaking despite its gruesome material is that all the characters are driven by their love and concern for each other." 
--Fiction Writers Review on Down in the River

"Blacketter's prose is paired with the torque of a plot that lives and moves like an indomitable engine. This difficult and necessary story is inbreathed with a ferocity that leaves the reader shaken." 
--Shann Ray, author of Forgiveness and Power in the Age of Atrocity    

“Even as Lyle runs toward trouble and danger, his youthful optimism, however delusory it might be, flickers in these pages, compelling the reader to journey deeper into night, in search of hope and redemption.” 
--The Rumpus

“The eleven intricately woven short stories of Horses All Over Hell portray a family caught in an ever-deepening spiral of damage and despair while bound together by ties of love in a Western landscape that comes to life on the page. The deep flaws, the beauty, and the bravery of these richly imagined characters will linger with the reader long after the last page.”
—Mary Clearman Blew, author of Jackalope Dreams and Ruby Dreams of Janis Joplin

                 
                                                  Biography
                         
Author of Down in the River and Horses All Over Hell, Ryan is a graduate of the Iowa Writers' Workshop. He mentored writers in PEN America's Justice Writing Program for ten years until 2025. He has taught creative writing at University of Iowa as a graduate student, introduction to literature at Oregon State, and advanced fiction writing at Boise State. Ryan was a Tennessee Williams Scholar at Sewanee, and led discussions of A Farewell to Arms for NEA's Big Read in Boise. He has received grants from Oregon Regional Arts and the Idaho Humanities Council. His stories appear in Antioch Review, Alaska Quarterly, Crab Orchard, Image, 
and Quick Fiction. His novel KARMINA was a finalist for the 2024 Tucson Festival of Books Literary Awards.
Since he was nervous, he was surprised to find that he was a popular teacher at OSU. The students, most from Eastern Oregon, were more alert and independent than he'd seen at other colleges.

Ryan has said it's the creative life that matters most to a writer, the devotion to inwardness, to reading, to learnedness about people, to creating human life on the page. It's a spiritual manner of living, and it's something that any inward-seeking person can do.

Inquiries should be sent to colorwheel22 (at) icloud.com, or 458-234-3541.
                     
Check out "Convent Boys" at Crab Orchard Review.





                   Shitty Author Central Page
I have a shitty Author Central page that doesn't work right. On the main Amazon page, only typing my name and one of my book titles will bring you to my page. Someone else controls my Author Central page and my Google Control Panel.

You can also use this link:


When I wrote for the Observer, a traditional business news site at the time, they allowed my contradictory, anti-MAGA, anti-PC essays that were mostly about writers. I learned that contradiction is the key to centrism in writing essays. It's also the way I think. My essay on Milo was included in Arts & Letters Daily. Though I was in a libertarian phase, I think I managed to be respectful.


                    Milo Essay in the Observer
“I support anyone's right to speak and publish. But my own feeling is that Milo was often thin stuff—he was one-dimensional, neglecting to locate any other personality trait that might mitigate his constant judgments about people on the left . . . His rhetoric was absent goodwill that might truly persuade, and therefore he lacked complexity and depth on the stage. In short, too much stupidity issued from his pretty mouth.”

Hemingway Essay
"Though I have my own reservations about the macho, photo-op persona he embraced in middle-age—machine gunning sharks, swilling from a bottle, grinning next to a conquered marlin or lion—the younger Hemingway, in his early twenties, had a kid-like vitality and art-loving exuberance that were enormously appealing."

           ZZ Packer/Polemical Literature Essay
"In the 1990s the exciting ethnic boom in literature began, introducing Americans to talents such as Juno DiazJhumpa Lahiri, and Ha Jin. Soon, however, the increasing diversity of voices often seemed less authentic than the crowd that created the buzz. Young writers across America were transforming themselves into sellable models of culture.

"In 2006 Poets and Writers published 'The Pressure to be Exotic,' by Azita Oslanoo, who grew up in Montana and liked it there.

“'As a first-generation American, the daughter of Iranian parents, I’ve been advised by peers, professors, two agents, and one editor to cash in on the latest book in Middle Eastern literature, particularly in memoir-driven literature…The problem is that I can’t in the least imagine the book I’d have to pen…Would it have lots of italicized foreign words interspersed throughout the prose? Would I open with a passage on veiled women and Persian rugs?'”


                    Albums of Our Lives Essay
"I discovered Guided by Voices fifteen years ago, while miserably married and fully employed, teaching ESL in Atlanta. In those days, I was earning money for curtains, towels, and bedspreads. Instead of working full-time as a writer slash part-time anything, I woke at 3:30 a.m. to write before work. After my job I went to my counseling appointment—for my attitude and my drinking."

                                                                            
                    Two of Ryan's Classes

        High-Risk Fiction: A Writing Workshop
This class encourages fiction that, like all good writing, takes emotional risks. This riskiness sets literature apart from the dishonesty of bad books, TV, and movies. Workshop is not confession, but in the privacy of their writing rooms students might begin to tell personal stories that perhaps they have only told about other people.

"Tell everything on yourself," Raymond Carver urged. Virginia Woolf would have agreed: "If you do not tell the truth about yourself, you cannot tell it about other people." 



We will read published stories as models. Amy Hempel writes of a woman who abandons a close friend dying of cancer, and confronts the aftermath of her choice. Thom Jones explores one soldier’s psychological territory of war, aggression, and epileptic torment, in which “illness” provokes desires to find a better way to live. 

              Hemingway: A Writing Workshop
We will read the short stories of Ernest Hemingway as writers, applying his mastery of craft to our own fiction. Hemingway is still the most influential writer of our time. His literary principles are universal. He was no minimalist, nor a mere innovator of style. Writers around the world claim him as their greatest teacher, including such talents as Albert Camus, Gabriel Garcia Marquez, Frederick Barthelme, and John Updike.


We’ll discuss sensory detail, compression, density of meaning, musical language, coiled dialogue, and the iceberg principle. 


Creative Writing Tutoring, 
Online and Telephone, through Blacketter Services

$40 per hour. Two-hour class, meeting once a week or twice a month.

"Without the Blacketter treatment I never would have gotten into the Iowa Writers' Workshop." 
--Jordan Glubka (Eugene, Oregon)

For questions please call 458-234-3541.

The Lord's Hacker

The Lord's Hacker
I post this here for reasons that are too unusual to go in to, though it might be interesting to see if it remains online. 

It would be lovely if this book weren't tampered with, while it sits on this blog. It would be nice if the "jump break" at the end of the visible section wasn't frozen or broken, so that readers could click "read more" if they wanted to. But do expect some wonky fonts and irregular spacing.

This post has received about 1200 visits since a week ago when it went live, due to word of mouth. Down the road, when there is no more interference, it will be published in book form.  

By the way, anyone can read The Lord's Hacker. Please read it here, paste the full manuscript onto your computer or Kindle, or give it to others. Make sure you click "read more" before you copy the book.

The Lord’s Hacker

A Novel, 354 pages

Ryan Blacketter



For Harland, a wild and extraordinary soul



PRAISE

“I couldn’t put The Lord’s Hacker down. Often it felt like On the Road, capturing swift movement and many characters in the American tapestry. The book is psychologically fraught, understated, and rewarding. By the title, I assumed it was an exposé of a Christian charlatan, but I was delighted to discover it’s about love, life, and hope. The writing is raw and evocative and it inspired me to write.” --Jose Chaves, author of The Contract of Love

"Ryan has a marvelous eye for the emotional textures of the most commonplace experience, the kind that familiarity makes almost subliminal." --Marilynne Robinson, author of Housekeeping

“Ryan Blacketter’s writing is often humorous and melancholy in the same breath.” –Mary Owen, daughter of Donna Reed

“[Ryan’s] characters are interesting and real.” --Robert Pollard of Guided by Voices

"The author’s prose is as outstanding as the story it conveys, with spare, raw dialogue and deft scene-setting that is descriptive without feeling overwrought." --Kirkus Review on Horses All Over Hell


BIOGRAPHY

Author of Down in the River and Horses All Over Hell, Ryan is a graduate of the Iowa Writers’ Workshop. His books have been explored in Poets & Writers, Kirkus Review, Fiction Writers Review, Paste Magazine, the Rumpus, Largehearted Boy, Pittsburgh City Paper, Canada’s Miramichi Reader, and Rain Taxi Review of Books. He served as fiction mentor in PEN America’s Writing and Justice Program for ten years.


“The greatest trick the Devil ever pulled was convincing the world he didn’t exist.”--Charles Baudelaire



1
I worked for a Christian leader who became a tyrant. He ran a successful imprint in the Northwest, and he hired me to edit book manuscripts. At the end of one assignment, he said I was going to contribute articles for Christian blogs to promote the book, in my name—a loathsome project, but I decided to finish these extras he gave me. He rejected the first article, asking for something more “upbeat.” He shot down the next one as well. It occurred to me that he wasn’t inviting my own singular voice and contribution. Instead, he wanted me to alter my attitude until I sounded like one of his educated Christians, as if I was an actor in a series of erudite infomercials.

“I can only write something that is honestly the way I have experienced it,” I replied to his second rejection. “. . . People who have read and enjoyed the Old Testament—a minority—will find my articles far less profound, and far less dark . . . If you don’t like the essays I write, don’t ask me to write them.”

He wrote back: “I demand an instant apology. You sure as fuck don’t need to lecture me on the Old Testament or darkness. From now on I will have a zero-tolerance policy for any snotty bullshit from you. You decide if you want to make an enemy of me or not.”

I rose from my desk and stood beside the calathea plant on a shelf, its stripes like arrows, and scratched rapidly at the side of my head. The dome light was broken in the living room, and the lamps did little to brighten the place. Hard rain beyond the sliding glass blurred the day. A child’s limousine—a pedal toy—crossed the street in the wind and stopped, facing our apartment, twin antennas rising from the trunk. Rain hissed on our porch. The sound was pervasive, and there was the momentary illusion of water falling through the apartment ceiling.

My computer screen shimmered in the dim light. My snottiness and his narcissism were a poor mix. He needed obedience and praise, and I had snags with authority. His invitation to hostilities came easily to him. You decide. It was distressing and interesting—the Christian who made enemies over disagreements at work. When I had met him in Portland at an editing job fair five years earlier, he was large sitting behind his table, and his head was very large. His voice was grand and old fashioned, almost southern, though he grew up in California. He spoke words he must’ve used a thousand times before. He said he believed in “honest exploration of the human heart,” and he snatched up one of his new books—Dante’s Journey—as if to hide behind it.

“We’re building bridges,” he said, “inviting everyone to our books. I can no longer keep up with requests for speaking engagements, but I hasten to make the effort. They want me everywhere, in New York, Brazil, Germany.” He smiled and dropped his gaze. “I didn’t achieve this on my own, you know. Believe me, I couldn’t have done something so largescale and laudable on my own. I believe he wanted this enterprise to take flight. Old Yahweh. He steers the ship here.”

I knew he had studied with a great scholar at Yale who published annotated classics, and he went on to publish Christian volumes that were similar. He seemed phony, but admirable. He really had achieved something that moved the world. Los Angeles Times thought so. So did Chicago Tribune. He was a public person and spoke a lot, so naturally he’d come across as manufactured. Successful people were weird, by and large. They were distasteful up close. His hourly pay for editing was attractive.

The enemy email on my screen flickered in an illusion of downward scrolling. My wife, Rachel, with our baby, returned after a gathering of young women from our church.

She held Leo on her hip. “What’s the news on getting the light fixed?”

“The landlord called after you left. He said it’s our responsibility to fix it.”

“Jesus. That’s Idaho for you, I guess.”

I sat on the floor while Leo held onto my shoulder and patted my face. “The other baby took a shine to Leo at the baby date,” she said. “She kissed him right on the mouth.”

“She knows Leo’s somebody.”

“That’s right! What did you do today?”

“That Christian leader said I was snobby or something. Hope he pays me for the book I edited.”

“He has to pay you.”

“I think the rule is I have to do what he wants me to.”

The next week, my author notices dropped from my first Google page in one day—Antioch Review, Crab Orchard Review, Writers in the Schools, Tennessee Williams Scholarship. All had found a new home on Google-page thirty. Maybe well-trafficked internet notices didn’t always stay in the same place, but they didn’t fly away to perch on page thirty, all together, like trained pigeons either.

Despite the enemy email, I sometimes doubted the Christian leader was doing this. It would have required a lot of time to learn hacking at such a high level. He had a business to run that was more demanding than most.

In ten days, the first review of my novel appeared in Fiction Writers Review—rising to the top of my first Google page on day one. The next day, it plummeted to page fifty. Hate blazed in my chest.

That day, the Christian leader wrote an email stating that I needed to write an apology. Then we could discuss it on the phone, and he’d determine if I was sincere and truly remorseful. I didn’t respond to it. In a couple of days, that email vanished from my inbox. He had sent the check and I cashed it. He wrote again. “Your remarks are untenable. I won’t let you get away with this. I need an explanation by the end of the day.”

I wrote back, “Go fuck yourself. You are no kind of Christian.”

Two weeks later, I found 20 trojans had leaped into my computer—after I had clicked on emails or texts I should have left alone. But one suspicious “incorrect wifi” notice sucked at the middle of my screen like a leech all day, although the wifi worked fine. It was stuck there, despite several restarts of my computer. I had to click it to use my computer at all.

In days a hacker seized control of my email and desktop, deleting fifty or sixty copies of book-, essay-, and story-drafts I’d emailed to myself and stored under “Writing.” These exertions provoked images: the Christian leader seizing boxes and tossing documents out the window, the Christian leader pulling a length of duct tape from a roll and standing over my son’s crib. At night, while my wife slept and I lay awake, I conjured him under our bed, grinning like Bob in Fire Walk With Me.

Whoever the hacker was, he didn’t touch the full manuscripts on my desktop, but everything else flew. When he sent me some hair-raising porn, when Rachel and Leo were gone, I left the apartment and walked the long hallway to the back of the apartment, went down the stairs outside, and paced in the grass with my hands atop my head, whispering, “Motherfucker, motherfucker!”

Our uninvited guest favored the evening for extended hacking. Rachel and I often watched a movie on a computer when he entered our home. The computer hissed, going hot as it had never done before. It was as if a seething presence nested there. But the movies played on without interruption, as if his intent—at this time anyway—was simply to let us know he was in the room. It had to be the Christian leader. This hacking had rage in it. No one else hated me that much. It made no sense that I had provoked such fury, but I seemed to have done it.

One night I kicked the coffee table so that it stood askew. “What can we do about this guy?” I said.

“I doubt we can do anything, Christopher—unless you know a hacker.”

He favored my phone at first, but hacked my wife’s, too—hot to the touch whenever he hacked. We stopped taking our phones to the bedroom or the bathroom. Rachel called him Father Peeks, as he liked to get his peeks. We had covered up web cameras with pieces of tape and disconnected WiFi when it wasn’t in use. But we removed the tape to take selfies with our son, and didn’t always remember to put the tape back on. Regarding WiFi, he was able to hack even when our WiFi was turned off, though it seemed impossible.

One sunny morning, two weeks later, when Rachel was at the store and I was writing an email to a friend, the browser disappeared. When I went to drafts in Gmail, there was no draft. Maybe my hacker wasn’t the Christian leader, but I believed it was him, and I had the feeling he wanted me to know it was him. He didn’t fear getting caught. He saw himself as God’s air traffic control man—he had cart blanche to drop planes out of the sky, making magic baby waves from the tower window and crossing himself when the smoke rose from the crash.

As I gazed at the screen, an image of two dice appeared on the desktop. Then an image of a file, signified by three pieces of overlapped paper, as if he wanted me to believe he’d planted scary files in my computer, or was going to.

I got Leo from his crib at the end of his nap and rested on the couch. I held him, so that he faced away, and gazed at a wall a long time, light bands playing on it like phosphorescent prison bars. Rachel had been gone for an hour. It seemed possible that she could get in a wreck. This was Boise and not Detroit, but terrible things happened here, too. Now the Christian leader favored Rachel’s phone. Rachel was beautiful. She must have been nice to see in that peephole. God, how I wanted to fly an elbow into that man’s face.

The living room swelled with direct light as the sun cleared trees, and Leo cried. “I’m sorry, buddy, I was only thinking for a minute. Let’s play. Mom’s at the store.”

I set him in his bouncer seat, and he called out “bombom,” his name for ball. I bounced a red beachball at him and he grasped for it. When I placed it in his hands, he gummed its surface, and smiled at the shiny red circle that he clasped.

Rachel called. She had forgotten diapers and had to stop at the pharmacy.

“Is everything okay?” I asked her, my voice more anxious than I had wanted.

“Toilet paper, too. I’m forgetting everything. How’s Leo?”

“We’re trying to play catch,” I said, “but I can’t get this malevolent altar boy out of my head. I’m literally waiting for him to walk in the front door.”

“You can go for a walk when I get home, if you feel like it. I know it makes you feel better.”

“Maybe I’ll go after dinner,” I said. “It’s already hot. Listen, drive really safe. Wait for three seconds after the light turns green.”

She laughed at me. “Thanks for the DMV safety message.”

For dinner I cooked the fresh pasta Rachel bought, but I was captured by the boiling linguini too long, staring into it like it was some Lynchian image of torment and corruption. The pasta was ruined. I made salads with leftover chicken instead.

In the evening, I left our apartment and walked two blocks to a trail that lifted into the foothills. Miles above the trail was the entrance to Boise National Forest, a blue sketch of pine. It was March and the heat was already on us.

Even out of doors I saw Father Peek’s warm smile, I heard his radio voice—mannerisms from years earlier, when I had met him. Since then, he’d adopted an edgy persona, and I saw that face too. His voice was no longer 1950s IBM, but serious, hip, intellectual, relevant. It was these two versions that I saw in my mind. They changed back and forth, like twins appearing one at a time to trick you. “I’m Jimmy!” said John. “I’m John!” said Jimmy.

But it was outlandish to believe that such a man, so careful of his image, would send scary porn and hack my wife. If it was him, he’d have to be disturbed, and he’d have to feel he was absolutely hidden. But many other Christian leaders, priests and ministers and others, have buttressed their good image in the light of day while trotting out at night to touch boys and girls in the dark. A hidden life seemed much easier for a hacker to accomplish, especially a good hacker who left no trace.

Enemy. You decide. Your remarks are untenable. I didn’t have anyone else in my life who spoke in such absolutes, except God. I wasn’t a big Catholic but I grew up that way. Rachel attended the initiation meetings and joined up, so that we could all go to mass.

I tramped up a hillock and ran down the other side, the low sun following like a hunting thing. The pines in the wilderness above looked farther away the closer I got to them. A hiker would have to start out before dawn to make it to those woods. He’d get stuck up there when the sun was coming down. He’d find the road, but no one would stop for him, and he may not survive. Always a worrier but now full of dread, I fretted over the little unreal images that skipped through the mind: Dropping Leo on pavement, overdosing on my medication, seeing Rachel succumb to a man’s intense stare.

It was only the shocks of this sudden hacking. I’d get used to it. Our hacker had been with us a few weeks. He wouldn’t stay forever.

For now, I wasn’t present for my family, and I was grumpy with my advanced fiction students at the university. It was all going sideways here, at the Mormon-influenced Boise State.

In the previous week’s class, a young woman with a therapy dog had asked why I seemed to dislike the students. I didn’t tell her that this senior-level workshop felt like a religious high school class. This religious innocence of many students had bothered me for the past two terms, and the stress of the hacking amplified my distaste.

“We have our own ideas,” she said. “We can disagree on some things. You hate all of our stories so far.”

“No. I hate the stories I’m writing, not yours. Your stories make me irritable sometimes, that’s all.”

“Why don’t you let them be what they are.”

“Half the class is writing about how it was wrong to steal money,” I said. “Wrong to challenge Dad. Wrong to rip up a midterm in front of the high school teacher. Wrong to take drugs or have premarital sex.” On stage before them, I had an underwater feeling with my heavy dose of lorazepam—worse than at other times—and I closed my eyes and opened them in long intervals that gave me privacy. “It’s wrong to do no work. It’s wrong to leave your baby with your mom. It’s wrong to be prideful, and ungrateful, and one protagonist learns at the end, It’s completely unhealthy to drink alcohol in large quantities. Actual quote. But you’re college seniors. Meet someone weird at the bus station and buy him coffee. Talk to a prostitute. Hang out at the public library and roam the stacks to listen to people talking. Invade a private conversation, in secret.”

“That’s completely wrong,” the young woman said.

“You need to get some unusual experiences under your belt,” I said. “Most of these stories suggest you’re leaning too much on high school years.”

“Hang out with prostitutes,” she said.

“Talk to an old man waiting for a Greyhound bus,” I said.

“He wants us to hang out with prostitutes,” she said.

It was all good advice, but I lacked a disarming mirth to make it worthwhile. I used to have that good humor, in Oregon. Instead of inviting these Idaho kids to an inspiring and slightly deviant adventure, I was like a grim priest sending them on a nasty errand.

Dusk announced itself on the trail. The Boise National Wilderness was a black smudge near the sky, and I stood on a rock to catch my breath. In the near distance, in the foothills, stood the lighted cross at Table Rock. The Jaycees built the cross in 1956. I can imagine those crew-cutted killers. Friend, I’d like to bend your ear about the good shepherd above and how, with his teaching, we can prosper right here in the City of Trees. When my dad was a corrections counselor at Old Idaho State Penitentiary, some of the staff witnessed to him about Jesus, but he preferred the company of prisoners. During a riot in the early 1970s, the warden gave him a gun and told him to stand on a wall and point it at the inmates. He stood on the wall but refused to point it at anyone. I wonder how many Jaycees would have refused to point their guns. Probably none. They would have pointed their guns while they preached to them about the one above.

Boise was a good place to leave. I’d left it twice before—I loved the city when I was away from it—but this departure would amount to a great event. I had received an inheritance from an aunt I barely knew. The money waited in a special account like tickets to anywhere. It was a year’s salary, enough to get us somewhere and keep us for a while.

In the apartment parking lot, I walked under our lighted sliding glass door, excited to talk to Rachel about our trip. She was light-hearted and smart, with a quick and well-reasoned understanding of practically any problem I brought to her. We’d see our way through this hacking together.

In the apartment, she watched a crime show about a killer who backed over his best employee in his car, sawed his bones, and buried him in a suitcase. Rachel painted her nails, as cool and unfazed as the glass of iced tea on the coffee table.

“This killer was everybody’s favorite boss,” she said. “His face made them feel welcome every day. He ran the March of Dimes table at the fair.”

“I’m sure he was very caring and supportive before he started killing everyone.”

“There was blood but there was love. He wasn’t one of these cookie-cutter types.”

“How are you and Leo?” I said.

“He went right to sleep. I had a whole hour to read.”

“Pittsburgh still your first choice?”

“Yes. It’s the only big city where you can show up and rent a cheap house. They have incredibly cheap rent in some sections. I was reading about it today.”

While she watched her show, I wandered to the bedroom, the bathroom, as if expecting to find my hacker behind a door.

That night, while emailing friends and recording grades, browsers danced, the movements playful and orchestrated. One browser narrowed to a tiny box and vanished. Another found the shape of a transom, as if inviting me to gaze into it and see who worked the controls in there. My mouse was restrained, freed, restrained. When I used my phone to record a video of the dancing browsers, my computer screen went still, as if he viewed both screens at once, and I turned off my phone.

New “files” images scattered across my desktop like cards, each signified by a dollar sign. I searched the obvious locations for pictures but found nothing. The Christian leader wanted to create panic that my computer now had something frightful on it.

Next day I wrote and called the police in his state, the FBI, and the Idaho State Police computer crimes division, detailing the document deletions and the porn bombing, and discovered that law enforcement only pursued hacking cases involving money or bodily harm. The computer crimes officer at the Idaho State Police dispelled the common belief that somebody had to be “really good” in order to hack. He said hacking was common. Hiding an IP address was the first thing you learned. As far as prosecuting a hacker, he said you could find articles about people who won hacking cases, but in general it was hard to prove. Any good hacker was going to hide his evidence. Judges tended to throw out those cases, and it was hard to find a lawyer who would take a case against a hacker. Lawyers defended people who were accused of hacking. They didn’t run to assist those who were its victims.

“So,” I said, “with ninety-nine percent of hacking cases—we can’t prove them, and it never happened. Courts won’t listen and people think you’re a little unhinged if you talk about it.”

“That sounds about right. But I don’t think your hacker is a minister.”

“Not a minister—he’s a publisher.”

“If he’s really doing everything you say, he’s a full-time hacker. And I think you’re right that he thinks he can get something from you.”

“He’s free to check out my bank balance. There’s not much there.”

“I’d remove everything about your family online, especially your baby. Take down any photos.”

“You think he might be interested in them?”

“Play it safe. You don’t know what he’s after.”

I took down all pictures of Leo that night.

When I contacted police agencies, my hacker returned some of my notices to my top Google pages. But the hacking of our phones and computers continued just the same.

I looked up articles on hacking cases. Its practitioners were employers, ministers, lovers, husbands, wives, friends, real-estate agents, even high schoolers—all plunging into the unpatrolled forest of the internet, seeking the pleasure of inflicting pain unobserved. There were many hackers with personal grudges. America seemed pent-up and dangerous, many thousands of intelligent people breathing through their teeth in rage, or laughing out loud, sitting behind locked doors and digging sticks into their fellow humans. There were also righteous hackers, those who exposed corporate criminals, for instance, but it was the grudge hackers who made the internet blink red.

Friday, January 02, 2026

Robinson, Baldwin, Hemingway, Hempel, Woolf

I wrote a few vignettes to have something on my site that isn't resume content. I have published reviews of writers and bands in magazines, but these snippets are a good fit right here.

Marilynne Robinson 
My advisor at Iowa was Marilynne Robinson. A Calvinist, an anti-nuclear crusader, Marilynne often gave guest sermons at her church near downtown in Iowa City. I attended two of these.
She's intimidating, the most obvious genius I've ever known, but she's kind in conversation. She helped me a lot on my book Horses All Over Hell. She wasn't one for line-by-line craft discussion, but a single sentence from her could open up your view in a startling, book-changing manner. 

Though religious, she didn't go around being "nice." She was solitary and walked the river alone in the early morning. This mood gave some people the feeling that they weren't invited to speak to her, but her sudden warmth and wit, when you did speak to her, made you understand her inwardness wasn't personal. She allowed brief windows of contact, and I knew I wouldn't forget those discussions.

And it's clear that the world won't forget about her, though I don't believe she's trying for immortality as a writer. She has too much reading and inquiry in other subjects to think much about herself.
 

Giovanni's Room
David has lived on the edges of a
homosexual milieu in Paris, while conducting an upright heterosexual life. From a car he glimpses many butcher shops, and regards the daily lifestyle of unrestrained sexuality as a brutal reality that he ought to avoid.

But of course he follows Giovanni to his room, and he is never the same. He's repelled--repelled by himself--and he falls in love, and he despises his new lover. 

“But it was not the room’s disorder which was frightening; it was the fact that when one began searching for the key to this disorder, one realized that it was not to be found in any of the usual places. For this was not a matter of habit or circumstance or temperament; it was a matter of punishment and grief.”

 When Giovanni is convicted of a terrible crime--the reader learns of this in the beginning of the book--David enters a darkness in which he feels that he is forever trapped. There is no longer any escape from his own nature or the young man he loves. 

"People who remember court madness through pain, the pain of the perpetually recurring death of their innocence; people who forget court another kind of madness, the madness of the denial of pain and the hatred of innocence; and the world is mostly divided between madmen who remember and madmen who forget."

I feel stressed when I read such a line of psychological learnedness, as if I have to learn this news immediately. Then I remember to slow down to a speed of deep learning, allowing the words to become part of my own education.             

A Farewell to Arms


Though in the beginning Catherine says things like, "There isn't any me anymore. Don't make up a separate me," Frederick speaks in this love language later. Their language might sound treacly or absurd at times, but Hemingway always wanted to locate "the way it was," and this is what being in love sounds like, even if it's sometimes off-putting to those within earshot of the lovers.

But Catherine has real depth. She has experienced loss in the war before meeting Fredrick. She's strong, but also a bit broken and spooked. She imagines herself dead in the rain now and then. She's not crazy, but she feels the pull and dread of her psychology during war, especially. 

Catherine also displays an uncommon ability to stand alone in her beliefs. When she gets pregnant and her nurse friends are melting in paroxysms regarding this "shame," Catherine is light-hearted about the child growing in her, knowing that such things happen in wartime. 


When Frederick meets Catherine, he's just a kid. He later understands that he loves one of the strongest people he has met, and he is deeply influenced by her.

“I know that the night is not the same as the day: that all things are different, that the things of the night cannot be explained in the day, because they do not then exist, and the night can be a dreadful time for lonely people once their loneliness has started. But with Catherine there was almost no difference in the night except that it was an even better time. If people bring so much courage to the world the world has to kill them to break them, so of course it kills them. The world breaks every one and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.”

And since Catherine is brave--and psychologically wounded by the world--she becomes an authentic Hemingway hero, a designation of high respect.
             
On Virginia Woolf
When people discuss Virginia Woolf online, there are always a few strident Americans who object to her suicide, as if that action erases her accomplishments. But suicide is tragic, not immoral, in most cases. Since Woolf endured bipolar disorder without the aid of lithium--and suffered a gathering of voices that terrified her in the end--her last years played out with sympathy.


The most recent silly remark I read online about Virginia Woolf occurred only yesterday. This comment was uttered by a house flipper: "Why should I listen to her about life? She committed suicide."

Many Americans have a lot of moral judgements, but not much questioning of their own choices, in my experience. To spend one's life flipping houses, playing video games, and turning occasional pages of political thrillers, for instance, is considered exemplary or neutral. To rest in an armchair waiting to expire naturally, while holding an alien romance novel or a joystick, is thought a noble way to finish life.  

"Doesn't everything die at last, and too soon?" Mary Oliver wrote. "Tell me, what is it you plan to do with your one wild and precious life?"

Virginia Woolf did something extraordinary with her life, exhibiting grace and toughness the whole way.

I doubt many house flippers could endure Woolf's difficult life or make their own lives so meaningful. She was a modernist alongside Joyce and Eliot; a brilliant woman who endured post-Victorian foolishness; a sufferer of a ravaging mental illness; a founder of the Bloomsbury Group; a patient who was owned and controlled by doctors; a formidable seer, a true genius; and a conjurer of new and fantastic worlds that will always be read. She also experienced manic episodes that left their shocks in her mind and body each time. And she changed literature and she changed the world. 

The literary life isn't fashionable now. Even small pockets of literary readers and writers in America are shrinking up. I fear we are becoming a nation of house flippers. I often hear the advice, Read what you want. It doesn't have to be Dostoevsky, etc., as if we need more encouragement down the mediocre road. 

In this shabby moment of wealth building, of wheatgrass milkshakes and thin, longevity soups, we certainly ought to read Virginia Woolf. We ought to study her books, take notes, discover her craft, and read our favorites again. We ought to demand to understand this brilliant writer, getting a little farther on each read, allowing the books to point inward. Soon we'll feel a satisfying change happening inside us. We'll understand some things about ourselves and other people that we had never dared to admit or explore before.

In America, making some money and expiring quietly like a dandelion in the breeze is considered a satisfactory life. But Woolf was really alive in her efforts and battles. That's what matters most, really being alive while we're alive, doing vital and urgent work. 

Despite her illness, she brings out the essence of a myriad psychological characters, exploring the lies we tell ourselves to buffer the shocks. She records the weather, parks, and buildings in London with the richness of the moment and the singular perception of each protagonist, and the friends and children and family who are liked or disliked, sometimes for all the wrong reasons. She explores prejudice, class arrogance, envy, greed, and wrong-headedness in sympathetic characters, because she wrote about human beings, who are flawed, and she allows kindness or a selfless gesture in the same people, all of them contradictory and real. She presents the vital passions of some, like Septimus, a soldier of the first world war, who is shell-shocked, intelligent, and doomed, and the flaccid, conventional hopes of others we also care for. And we see how the world looks and feels, with metaphorical exactness, and it's all true and often so moving. 

That's why we read Virginia Woolf, in part. There are a thousand other reasons as well. And the details about her departure from the world only make her more sympathetic and interesting.  

Amy Hempel in the 90s
Reasons to Live is Hempel's best book, oblique, difficult in a way, and each of her stories is absolutely about something that matters. And "In the Cemetery Where Al Jolson is Buried" remains her most popular and anthologized story.

That surprises me because it's such a 90s story--the protagonist looking inward after doing something awful. In our current stories, protagonists tend to look inward only when someone else does something awful. 

The central character in "Al Jolson" has abandoned her friend who is dying of cancer--it's hard to descend any lower in the category of friend. But she was too terrified of death to go to the hospital until now. Now she feels ready to face it, everything--death, and her friend she abandoned. She might be ready.

“It is just possible I will say I stayed the night. And who is there that can say that I did not?”

What follows is escape and exhilaration, failure, loss, and regret--and an exploration of her many calamitous fears, as she seeks to understand the depth of her suffering and betrayal. 

Amy Hempel was my terrific teacher at the New School in New York City when I went there briefly in the late 90s. We took the train together a few times after class. She had modeled for Italian Vogue, and I resolved not to look at her. She talked about Gordon all the time. Gordon feels this way, Gordon doesn't care for that.

The great editor and teacher, Gordon Lish, had to make any genius he encountered his "creature," like he did with Carver, rewriting stories till they were his own. He rewrote Amy's stories as well. She, too, was Gordon's creature. He had creatures all over the place.

I was telling Amy about the slight, social novels we were forced to read in our seminar. "Oh my God, Gordon hates those books. Why are you reading those?"

But this woman who seemed to consult Gordon on every issue was one of the most original writers around. She was friends with Mark Richard, Tom Waits, Francine Prose, and other famous people in NYC, not just Gordon. In class she told us to get new friends, if necessary, and I thought, I'd pick you, but we were both shy and never got any conversations off the ground.

What a lovely presence she was in class, her voice shaking now and then, her cheeks blushing. Once, she told us something Tom Waits had said: "When I compose at the piano, these hands are like a pair of old dogs, going to all the places they've been before." She often dressed up in slacks and a blouse, conservative outfits. In the office was a photo of her on the board, with the caption "Got Milk?" tacked there.

I liked seeing her shyness. It was one of the things that made me think that I could keep on writing. Amy seemed innocent but her stories were not. They were weighted with experience and personal knowledge that she preferred not to discuss too often, and they were her own stories. Few writers had such an unmistakable style.

Interview, "His Own Private Idaho," in Rain Taxi Review of Books. 

The author of the short story collection Horse All Over Hell (Wipf and Stock, 2019) and the novel Down in the River (Wipf and Stock, 2019) talks about his work, inspirations, and characters.

ASO’K: I’d like to ask about Horses All Over Hell, your short story collection released by Wipf and Stock in 2019.

It’s a book of related stories focused upon a family: mother, father, and two sons. You depict problems caused or affected by alcoholism, mental health issues, and religious fundamentalism. These are adult problems, viewed by Cory, a child, who is the elder son. He also does what he can to look after Matt, his younger brother. Why did you choose Cory as the central character?

RB: A child inhabits a compelling psychological world. To a kid, a dog might have the power to read minds. A horse on the side of the road might cast a judgmental glance. Cory’s young enough to live in that magic, but old enough to grasp the troubles of his family. He’s an ideal observer.   

ASO’K: The setting of Horses is rural Idaho in the early 1990s. Please forgive the cliché question, but may I ask how much of the setting and characters reflect your real-life experiences?

RB: The town of Laroy is, more or less, Lewiston, Idaho. My family lived there in the 70s and 80s. My dad was an alcoholic, but not the wild drunk that Marty is, and my mom was a very traditional, heterosexual Catholic woman who sat with the dying. My dad was an anxiety-ridden parole officer who didn’t talk much except to yell, though he was good-hearted. I was a sports kid and wore my team uniforms at home, watching TV always. My family was hyper-normal, patriotic and God-fearing without question. Once, I tried on my mom’s bra as a joke, and my older brother screamed in fear and tackled me. My mom shouted, “Ryan, this is a Christian household!” My dad was at work. Naturally, I wouldn’t have tried that stunt if he'd been at home.

ASO’K: Cory’s father, Marty, arrives drunk (or at least uselessly hung over) on the morning when he’s supposed to be coaching Cory’s baseball team practice, then again when he’s supposed to be coaching them for a game. Cory’s mother Joanna has quit drinking and found religion, but sees imposing her religious views on her family as a solution to their problems, and is sycophantically desperate for the approval of the more affluent and socially prestigious members of her church group. What’s the biggest thing preventing Marty and Joanna from fixing what’s wrong with their lives? If they appeared to you and asked for advice, what would you tell them?

RB: I understand your temptation to wonder about this. But I say literature isn’t about solving problems. It’s about presenting problems. After all, we follow character trajectories that make sense, based on psychological realities. I’d feel content leading a character to prison if I understood he had to go there because of the story’s urgencies. I’d feel sad but I wouldn’t try to fix his life or anything like that.

Regarding Joanna, I feel sympathetic toward her. She is troubled by anxiety, depression, and suicidal thoughts. She has quit drinking and needs help. Since she’s speaking from pain and not judgement, I don’t get irritated by her reading the Bible to her kids, the way I might in a more self-righteous context. She’s deeply unhappy in Laroy, but church is the only game in town. She seeks to act like the other mothers because she has suffered a loss of confidence during her depression. She’s my favorite kind of Christian—deeply flawed, on the edge, trying to stay alive. The woman she meets, Lucy, the Native-American, is a similar kind of woman, though farther down the road in her sobriety. Later in the book, Joanna locates strength and toughness, partly due to Lucy’s influence. Where Joanna ends up is far more important than where she is at the start.

ASO’K: Birds seem to be a major motif in Horses All Over Hell. Marty, the father, expresses his dislike of large gatherings of birds. What do the birds represent? Other motifs, it seems to me, are the river and the horses of the title.

RB: My favorite metaphor is one that feels meaningful and right but is somewhat out of grasp. The birds resist explanation because characters speak of them differently. The metaphor changes depending on who’s exerting psychological pressure on it. Therefore, it wouldn’t do to nail it down too much. But I will say that I love the mystery of the image and I think it’s right on the money.

Regarding the horses, I suppose they represent disaster and chaos in the book. Of course, there’s got to be a dash of Revelation in the title too, but I wouldn’t make too much of it.

ASO’K: I’d also like to ask about Down in the River, your novel published by Wipf and Stock in 2014. The protagonist, teenager Lyle Rettew, commits an incredibly drastic act in attempting to come to terms with the recent suicide of his twin sister. If you would consider mentioning it to be a spoiler, we can keep mum about it, or mention it openly if you prefer. Anyway, it’s rather macabre, and truly unconventional. Can you describe how this idea came to you?

RB: When Lyle robs a mausoleum, he is flying on his mania, and therefore believes he’s doing something good. Of course, it is terrible and macabre. Lyle’s action is mitigated, though, when the reader understands he’s acting out of love for his sister, in his own cracked manner. Though his sister’s remains are in Idaho, and he’s in Eugene, Oregon, he associates this body he steals with his lost best friend and twin, Lila.  

He meets Rosa, a Latina who says about him, “Oh, you’re not quite right,” but knows he’s a good person at the same time. They happen into some speed. She becomes disturbed when she discovers what he’s carrying around in his backpack, but he explains it again and again—when she’s alternately high and tired—and she stays with him.

Although there’s not much sympathy for bi-polar people in the world right now, especially ones who rob mausoleums, I felt very tender about Lyle. Once, Lyle stands up for a goose who hits the top of a bridge while flying. It sits on the pedestrian walkways below, very dazed. Lyle guards the bridge and forces two kids to turn around, so they won’t frighten the goose.

Rosa says to him, “You’re like some kind of protector.”

But some readers won’t tolerate a sympathetic story about a grave robber. That’s okay. I wasn’t trying to please everyone.

Interviews and Reviews


Pittsburgh's City Paper "Arts Feature" Interview:
https://www.pghcitypaper.com/pittsburgh/cp-catches-up-with-newly-arrived-novelist-ryan-blacketter/Content?oid=1851057


Paste Magazine's interview with Ryan Blacketter: "The human story is a fairly dark one with painful and dangerous impulses that we all have. And that's coupled with a fortress-like psychology that most people have, protecting them from the awareness of the fact that they are part of this human experience." https://www.pastemagazine.com/books/drinks-with/drinks-with-author-ryan-blacketter/



Fiction Writers Review: "What makes this novel so warm and heartbreaking despite its gruesome material is that all the characters are driven by their love and concern for each other." Click here to read the entire review: 
https://fictionwritersreview.com/review/down-in-the-river-by-ryan-blacketter/


The Rumpus: "[Down in the River] casts us deep into a haunting, crystalline forest of ice-lit trees, broken streetlamps . . . a place where a kind of inner wilderness has crept back through the city, where the lights of passing trains, the reflections of windows and the 'cry of night birds' appear intermittently like forms of meaningless chaos or secret signs." https://therumpus.net/2014/11/down-in-the-river-by-ryan-blacketter/ 

Canada's Miramichi Reader: " 'Starlings' opens the collection and presents Joanna as a religious fanatic oppressing her husband and children, who feel a strong need to escape from her lectures. But by the end of this story characters unfold in a way that inverts our earlier expectations." 

Largehearted Boy. Presented here is the narrated playlist for Down in the River

Horses All Over Hell playlist at Largehearted Boy.
http://www.largeheartedboy.com/blog/archive/2019/07/ryan_blacketter.html



    Kirkus Review of Horses All Over Hell, 2023
"Told through stirring vignettes, the stories gathered here follow a family in rural Idaho as they approach emotional implosion. Cory and his brother, Matt, are at a loss when it comes to their mother, Joanna, especially since she became a born-again Christian. Cory does not understand why Joanna seems sad all the time, and the boys often try to avoid her attempts to read the Bible to them. Alternatively, the boys adore their father, Marty, who likes to crack jokes as often as he cracks open cans of beer, and they often turn to him for fun and approval. Marty leaves town (going first to Las Vegas and later to the town of Red Star, and Joanna’s friendship with an Indigenous woman named Lucy sparks rumors about 'perversion' among their town’s religious crowd. Later, Joanna and the boys drive to Red Star to move there with Marty, who, much to everyone’s surprise, has been living with an older woman named Carla. The author’s prose is as outstanding as the story it conveys, with spare, raw dialogue and deft scene-setting that is descriptive without feeling overwrought. 
As Marty, Cory, and Matt look at their home with Joanna inside, Blacketter writes, 'The clouds moved fast with her lying under them, and the oak scraped its branches on the roof, and bits of flying ice tapped their bedroom window. As if the day itself disapproved that she was in bed, and gathered new anger in the thickening sleet.' The titular story reads almost like a play reaching its gripping climax: Tension rolls off of each character as Joanna attempts to leave while Cory tries to stop her, Marty pleads with Joanna, and Carla and Lucy bear witness with their own romantic intentions simmering beneath the surface of the familial drama. Each character feels real and lived-in; the stories are poignant, evocative, and definitely worth the reader’s attention. An excellent and moving collection."

Radio/Library interview in Ketchum, Idaho.


  
"Blacketter's prose is paired with the torque of a plot that lives and moves like an indomitable engine. This difficult and necessary story is inbreathed with a ferocity that leaves the reader shaken." 
--Shann Ray, author of American Masculine

"I was completely enthralled by this haunting, page-turning novel. The disturbing events, the evocative landscape, and the chaos of mental disorder self-medicated by drugs and rebellion are all rendered in humanizing, beautifully-rendered realism."
--Wayne Harrison, The Spark and the Drive

"Down in the River is a startling, disturbing, and ultimately entrancing novel, a fever dream that astounds and never sits still for a moment, breathlessly played out in the sad twilight between the innocence of childhood and the despair of age, life lived on the last edges of love and loyalty strained to their limits."
--Ernest Hilbert, author of Caligulan

"Blacketter has created an outsider story of adolescence that left me wanting to travel more with his characters; I felt connected to them as they opened my eyes to new forms of chaos."
--Max Wolf Valerio, author of The Criminal: the invisibility of parallel forces.

“The eleven intricately woven short stories of Horses All Over Hell portray a family caught in an ever-deepening spiral of damage and despair while bound together by ties of love in a Western landscape that comes to life on the page. The deep flaws, the beauty, and the bravery of these richly imagined characters will linger with the reader long after the last page.”
—Mary Clearman Blew, author of Jackalope Dreams and Ruby Dreams of Janis Joplin

"Moving yet realistic and unsentimental, this is a finely crafted collection of short fiction."
--Arthur O'Keefe, author of The Spirit Phone

“Ryan Blacketter's Down in the River is an impressive debut novel that effectively tackles themes of mental illness and grief.” 
--Largehearted Boy

“A heartbreaking, macabre pilgrimage.” 
Paste Magazine

“Even as Lyle runs toward trouble and danger, his youthful optimism, however delusory it might be, flickers in these pages, compelling the reader to journey deeper into night, in search of hope and redemption.” 
--The Rumpus

“Lyle is clearly disturbed, but Blacketter never lets him become a caricature, never lets his mental illness cloud his personality or override his humanity. Like Dubus’s characters, even his most terrible deeds are driven by noble impulses and understandable grief.” 
--Fiction Writers Review

"A remarkable, darkly startling and endearing debut novel . . . As Lyle’s quest unfolds with messy inevitability, I am rooting for this young man, I am living as this young man, I am learning to feel as skewed and caring as Lyle does. And what a pleasure this is, and what great inspiration to a fellow writer the experience of Down in the River is. I cannot recommend this novel enough." 
--The Quivering Pen

"A strange, haunting journey across the shadowy landscape of grief and longing. To our good fortune, Ryan Blacketter is a heroic guide into this exploration of the mysterious workings of the human heart . . . This is a brave first novel from a writer to be watched." 
--Mitch Wieland, author of God's Dogs

"I can't remember when I've liked a character as much as I like young Lyle Rettew, or when I've cheered one on so hard, despite the fact that he's clearly crazy and his quest is doomed." 
--Pinckney Benedict on Down in the River  

When the Hippies are Gone
We’ll need a re
naissance to stand our lives with iPhones and AI. It’s harder to read, harder to write. As if there is some demented spirit in tech that closes the books we are reading. It must be once a month that I read about an AI chat inviting someone to commit suicide. Evil people can do that too, but it’s best to avoid them.

Creative rebirths occur after long periods of darkness. At such times, many thousands of people at once, especially young people, decide to go inward and live creative lives. In the 60s people left their jobs to live on farms with friends, to write poetry or play music.

Dennis Stock Photo

An invitation to return to the 60s can be corny, conjuring Google stock images of peace signs and round glasses. But when I was a kid growing up in Eugene, many of my friends’ parents were hippies. Many had natural smiles, and it wasn’t just the pot. They had found something successful. 

Most of them rented apartments or houses, built cabinets or worked at canneries or places like Genesis Juice. They had parties at friends’ houses in the woods, playing music together, and the kids joining in. They were easy inside, most of them, and deeply friendly. They had something. 

When they were kids in the 50s, their parents burned to succeed in view of their neighbors. They saw their fathers’ rage play out over years as they worked at corporations and nothing vital came of the hard work except a healthy lawn. They heard their mothers speak words that only hinted at the meaning below, cheerful greetings that echoed in the mind as oblique pleas for help. Or they had similar experiences common to the American landscape then.

In America, a million kids grew up as outward creatures. Commanded to seem happy and correct, to avoid their inward selves, they developed a sickness, and they didn't know this sickness meant they were creative. They wanted to speak and hear true words and to create objects of beauty.


Old Eugene was a hippie town in the 80s. At 5th Street Market, there was a rear seating area where hippies and alternative kids drank coffee and smoked. People read and discussed authors like Richard Brautigan and Susan Sontag. Though I wasn't much of a reader, I liked The Catcher in the Rye. That was a favorite book among the hippies. It explores a kid who insisted on being who he really was. 

Many hippies didn't look like hippies. Most of them looked like carpenters, with short hair or long hair. Women often wore jeans and faded blouses. Their magic occurred on the inside, and there was no longer any need to wear 60s clothing.

It was common to see a group of them get noisy in public, participating in an ironic square dance, for instance. They were semi-responsible parents, a bit country. They were joyful layabouts or craftsmen, not Deadheads. Some could build houses and others nothing at all. One of them could tickle a salmon's belly to mesmerize it, deep in the river, and emerge with the fish before his fellows. They might take acid on a free day, giving their teenage kids a sliver of pot brownie, if they wanted it. Many were poets and musicians, but their arts were for pleasure, friends and family.

Around 2010, in Eugene, I'd see a few old hippies driving their old Subarus or Hondas. My friends and I liked them for their graceful staying power, their ability to pursue a lifestyle while being poor or middle class. They were good luck for those of us who were trying to make it happen with our music or writing. But then the hippies went away and a different kind of people came to town.

By 2020, most of the younger creative people I knew in Eugene and Portland had given up their art for tech jobs. It wasn’t simply because life was more expensive. It was because creativity wasn’t respected anymore. 

I know why people from Los Angeles County seem to care only about money. I know why they're afraid of people who don't seem like them. They grew up around dangerous wanderers in the streets. They had to be careful who they talked to. Owning a home in a good neighborhood meant safety for their families. 

In addition, there really are some dangerous people in Eugene. And some of them look like hippies, such as young people with skinny dogs. "Give me a fucking fiver. You've got it. Come on, I'm a hippy. I'm trying to feed my dog, bitch. Hey!"

But it's the people wearing Giorgio Armani ski jackets who worry me the most. They're afraid of me because I look poor in my winter coat I bought at Target, but I'm afraid of them, too.

Few things kill the arts like an invasive wealth culture that doesn’t respect creative life. You think you have to start writing romance books and cash in--it's the only way to have respect. There's no place for you, the way you are, as is.  

But I won't write romance novels. I'm writing for those who are coming later. They're the people of the next renaissance. They probably aren't born yet, but they are on the way. 

Rebirths happen. It seems to be the way of things. 
                                                         
                         
Those Who Do It Anyway
I had trouble hearing my early teachers--their voices produced mysterious sounds that were beyond my understanding. In my early teens, I stood before a judge twice for petty crimes. I knew many other peaceful kids who liked adventuring. At sixteen, I quit high school and told my mom I wanted to buy a VW bus and drive to Europe. She wished me luck. 

Soon I left Oregon and lived in Boston for a year, rooming with an accomplished twenty-year-old painter who had been homeless. That year was a great education for a young wanderer. I read Naked LunchOn the RoadThe Great GatsbyQueer, Junkie, A Room of One's OwnThe Ghostly Lover, A Clergyman's Daughter, and A Farewell to Arms

Back home, I attended community college, and the university I went to the next year didn't require English majors to take math. It was good luck.

Later, I failed the GREs--"correct answer" tests are inscrutable to me--but the Iowa Writers Workshop was kind enough to overlook that fact. The most selective graduate program in the U.S., Iowa was a dropout's playground. Students weren't required to attend classes except for workshop once a week, and teachers didn't give grades. 

I wrote all the time, at least six hours a day, sometimes ten, and read three or four hours. I annotated books on my own reading list, and casually read the books for the nonrequired lectures. As part of my financial aid, I taught creative writing classes to freshmen, and preached about craft and the lazy, hard-working lifestyle of writers.

My teachers were all terrific--Frank Conroy, Chris Offutt, Marilynne Robinson, Jim McPherson. Offutt's workshops presented such clear distillations of craft, and I was instantly changed as a writer. "A story's issues have to be set up and buttressed," he said once. "We need to learn the mother is depressed right away. You need to front-load that information."

It was wonderful to learn so feverishly in a loosely structured environment. Most people aren't stirred to ferocious work habits when they're told they can make their own schedules and they won't be graded. Maybe it's only writers and artists who do it anyway.

Tropic of Cancer
Henry Miller was a bohemian writer who intended
 to send shock waves through the English-speaking world. That might explain why his language is sometimes derogatory toward women, the elderly, the highly normative, and many others he encounters. It seems he's actually trying to alienate. At one point, he laughs at the death of a colleague. Another time, he's disturbed by the thought of a baby squirming in a woman's belly.

But he's up to something in his book that isn't readily apparent. He presents a Henry Miller who is far worse than the actual man. In life, for instance, he had a thousand friends, men and women. Once, when he was hungry and poor, he asked several friends if he could eat at their houses once a week. They all agreed. But he never would have received such hospitality if he treated men and women like that.

While writing the book at forty, he included feelings and attitudes that most other writers left out of their books, and challenged the niceties and capitulations that many readers and publishers expected.  

His hero Rimbaud encouraged authors to take up a "scummy" appearance and attitude to fight the antiseptic falseness of middle-class morality. Celine, another influence, told the truth in a thousand forbidden ways. Miller writes with these authors at his back. 

Baudelaire, Gide, and, later, Genet were also part of this literary school of social combat. This describes part of their work, at any rate. They went out of their way to challenge norms, creating rebellious and sometimes low-life protagonists to strike blows against pious gatekeepers. Genet's glorified young gay criminals and prostitutes were indeed shocking, though he was beloved by literary authors. 

For the most part, the French understand that exploration of taboo subjects and "crude" protagonists was part of their method and forgive them, or love them all the more. 

Many American readers, on the other hand, who often fail to see the French influences in "Tropic," encounter a book that is inexplicably upsetting, as if it's a document without a context, history, or literary milieu. 

Everyone knows that Henry Miller was American, but few know that his books are culturally French. That said, he can't escape his American side that pops up here and there.

Past the rude surface, the book is more inspiring and life-affirming than one might expect. On its first page, the protagonist states, “I have no money, no resources, no hopes. I am the happiest man alive.” One finds similar Whitmanesque pronouncements throughout. 

Tropic of Cancer is, in part, an experiment in contradictions, stuffing the pages full of all that is terrible and good about this fictional Henry Miller. He plays a role in the book--the vagabond artist, the womanizer, the streetwise cynic. But here and there in these chapters we find a gentler man, and he was vastly more gentle in life.

Anais Nin recorded the great respect he paid to their friendship over years in her journals. Also, she loved "Tropic."

"Here is a book which, if such a thing were possible, might restore our appetite for the fundamental realities. The predominant note will seem one of bitterness, and bitterness there is, to the full. But there is also a wild extravagance, a mad gaiety, a verve, a gusto, at times almost a delirium. A continual oscillation between extremes . . ."

Henry Miller was a lifelong iconoclast--he wasn't making it up for his books. But years ago, I believed he was a creep who tried too hard to be bohemian. After watching a few of his interviews, I got a sense of this kind and curious writer who was so beloved by those who knew him. After that, I read him in a different light.                                          

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