Rustin Larson

The Wine-Dark House

November 19, 2008 · 1 Comment

winedarkcoverAvailable from amazon.com!

Rustin Larson is courageous in that he is not willing to take refuge in the ordinary. His poetry has been described as “stylistically diverse,” but as this comprehensive collection demonstrates, the style of his work is not applied as a matter of form; rather, it is derived from the nature of the poems themselves. So the reader’s experience is one of wholeness, of the seamless expression of style, idea, imagery, emotion, and message. I read a lot of poetry, and believe me, it has been pure pleasure to immerse myself in The Wine-Dark House.”
—James A. Autry

The Wine-Dark House is a triumph by Rustin Larson. The poems are evocative and fi nely wrought, brimming with detailed, sensual images and delicately crafted lines. The poet leads us gently, yet with a firm purpose, on a tour of shadowed memory, both distant and more recent, that explores memory’s hard truth. Yet, with patience, he leads us to the seductive comforts of memory. The poems entertain with an informed point of view. They always have that “click” close readers need to beckon them back for a second and third sampling of their writer’s careful and rigorous craft.
—Michael Carrino

With consummate skill, inspired wit, and a rare compassion, the poems of The Wine-Dark House observe, reflect, and startle, reminding us of the necessary human endeavor to both honor and challenge the occasions of our daily lives. At once courageously personal and generously universal, the compelling poetry of Rustin Larson embodies “. . . an accumulation of hungers/ as old as fire.”
—Walter Butts

Rustin Larson is a terrific, elegant, original poet whose voice rings so truly we become better people just by reading him.
—Naomi Shihab Nye

For an autographed copy, send $15.95 plus $4.05 postage/handing per copy, payable to “Rustin Larson,” PO Box 1721, Fairfield, Iowa 52556

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The Yellow Impala

October 24, 2008 · 1 Comment

I keep seeing my father drive around town in a yellow 1975 Chevrolet Impala. This is fine as far as most people (who don’t know my father) are concerned—it’s just that my brothers and I buried dad in November, 2001. For several very practical reasons, dad should be quietly resting in the cemetery and not tooling around town.

I often catch sight of him when I’m driving one of the kids somewhere, to school or some activity. He will be driving in the opposite direction, his ears cocked and his eyes tuned to space as if he were listening to the radio, trying to catch the college basketball scores or something. His face is drawn and empty as when I last saw him alive, in his hospital bed, asking for a sip of apple juice.

“Apple,” he said, and I held the straw to his lips and he drank.

My mother, whom we buried in 1995, has chosen to stay put and is not cruising around with dad. When she was alive, she used to love her little weekend jaunts.

“Got to get out and sniff the bushes and eat the garbage,” she used to say. She and my father would take trips up near the Minnesota border where they both grew up. They’d stop to visit whoever was still alive and sip a beer at the tap. Sometimes they would stop at the Grotto of the Redemption on the way home, and she would light a candle and say a prayer for whoever among us she thought was screwing up most.

Anyway, it seems to me dad took to driving again not long after I started writing a poem about the time I took him to the doctor’s office and he informed the physician he was ceasing intake of any nourishment—in other words, pulling his own plug. The doctor was exasperated with dad’s stubbornness and resolve to die. He simply said, “Okay…” and walked out of the exam room throwing his hands in the air. I was there alone with dad, and the old man just looked at me with those speckled blue eyes as if he were telling me to beat it as well. But I had to be there; he was too weak to move, trembling with Parkinson’s. He bored into me with his eyes as if the loss of his vitality was my doing, a deeply planned and carefully executed conspiracy authored by my brothers and me. I wheeled him out to the car and drove him back to the nursing home. He would refuse to eat their mush and thus weaken himself to the point of death. The poem has been difficult to finish.

Sometimes you just feel lucky. You sit behind the wheel of your car; as poor as you are, you know you are not going to rob any banks, and the ultimate “Oh, crap!” moment seems far off in the crisp fall of an infinitely distant future. What more do you need than a gulp of air, some bright sunshine and a little nudge to get going?

The last time I saw my dead father driving his yellow car was the day I slipped on the ice in the driveway and broke my left wrist. It was 7:30 a.m., January 31st, and it was two degrees below zero. I was scraping the snow and ice off the van when I saw him rounding the corner on Briggs Street and heading up D toward where I was working in the driveway. The moment I saw him, one foot lost traction on a bald skull of ice near the van’s tailpipe, and then the other foot slipped, and I kind of half hovered, my feet doing some crazy skating while I contemplated during several crucial micro-seconds how I was going to take the punishment. One split second said, “Back on your head, dude.” The other fraction of time said, “Trust me, sacrifice the wrist.” And so all 220 pounds of me went down on it, and as X-rays would later show, it was a spectacular fracture.

As the white-hot sickness and nausea began to overtake me, as I lay moaning in the driveway, I saw dad’s yellow Impala slow to the drive’s mouth. He puffed out his lowered window, “I’m sorry, I can’t help you.” And then he drove away, leaving me to struggle to my feet and fight the starry blindness of shock and find my way back into the house and collapse on the love seat and battle the urge to faint dead away.

At the emergency room (my daughter roused my wife from her morning meditation, and she then drove me there) they gave me some morphine and I got calm and a little philosophical and then a little lazy. I watched the sports news on ESPN on a little screen they craned near my face. The orderlies splinted my arm. X-rays were taken. I’m not really sure what the order of events were anymore. The bones on the X-ray film looked like a train derailment. The surgeon said I’d have to be transferred to another hospital because they didn’t have the hardware here. The hardware: carbon rods and brass joints with stainless steel pins that would be screwed into the bones. The morphine gave me the feeling that this was no worse than a little twist—just relax and everything will be taken care of.

The TV screen reported the criminality of one of our current sports heroes. Head shots. Men in tall suits walking in and out of court rooms. Then a cut to a Gatorade commercial.

This was the emergency area, but it was not the same room they had taken my father when he had fallen or become ill at the nursing home. It seems so long ago, now. There he was in a hospital gown with an IV and various tubes going various places. He was conscious and not thrilled to be looking at me. They had to roll him over and I got a glimpse of his pasty white groin and hernia rupture. I was not thrilled to get such an intimate view of his body. He was unhappy. We didn’t talk much.

Wheeled onto the bed next to him was a lady with hair like a frightened cat’s. She was on some sort of drug trip. She kept moaning, “Oh God, oh God.” They did blood tests and an hour later told her she had PCP in her system.

“How in the world?” she moaned to her husband. He was in his fifties—looked like a farmer—wore denim overalls.

“We know you don’t take drugs, honey. I don’t know how they got there.”

Likely story, I thought.

My father reclined on his bed, rolled his eyes.

When I was in my teens, my father and I would golf early mornings,– spring, summer, fall,– at the municipal golf course. Green fees were cheap there, so a 5:30 a.m. tee-off usually insured we would beat the crowds. Sometimes we would golf, just the two of us, and other times his accountant Jack, and his son Jay, would meet us there and we’d play as a foursome.

The golf course was sometimes spectacularly beautiful early in the morning. Before the sun crested the horizon we would practice chip shots onto the gray practice green and then putt our scattered clutch of golf balls. As the sun knifed into the horizon, the fairway glittered with dew, and, with the strengthening light to our backs, we would tee off. A well-hit ball could fly the length of three football fields, and splash in a spray-wheel of dew. Such drives required timing, poise and healthy wrists.

In the emergency room my wrist looked like the wrung neck of a goose, and it was nearing my time to be transferred to the other hospital for surgery, so they gave me another shot of morphine for the ride (twenty miles).

We didn’t use an ambulance, but my wife drove me in the van—and I felt warm and chatty under the morphine. We stopped for gas at a filling station, and I almost forgot and bought a cup of coffee (I was supposed to fast until they put me under in the operating room). I watched the frosted winter fields roll by. It was almost like we were going on vacation, and then we pulled into Ottumwa and their hospital. I sat in Admissions and signed a lot of papers with my good hand and then took a bed in a ready room where I undressed and got into a hospital gown and waited as my pain started to grow again—nastier than before—making me writhe and sweat with nausea.

They gave me another shot of what they told me was morphine, but it didn’t do any good. Slowly an hour and a half ticked away until it was time for them to wheel me into surgery. I was glad to be going somewhere they would be putting me to sleep and I wouldn’t feel anything for a while.

I had some flashes of fear that there would be some complications and I would die, but then I thought I would not be aware of any of it and if I did die, I would simply be dead and my consciousness, my sense of self, my soul would be…[?]… talking to my mother and father, was one thought, and it was just enough comfort to let myself go and let them inject me with all the mysterious fluids that let the curtain of unknowingness fall and let the healing begin one way or another.

I’ve awoken from anesthesia just twice in my life, and both times I awoke to the laughter of the nurses and orderlies around me. God knows what I had been muttering—or maybe it was just some private joke among them. This time I awoke to the steam of some ventilator under my nose. I didn’t feel talkative, but I felt fine, confident, and almost certain some opiates were at work on my nervous system.

After an hour of recovery, and a light lunch of soup and crackers and apple juice, I was discharged with a prescription for hydrocodone (a synthetic opium mixed with Tylenol) and a bottle of anti-nausea pills.

I would spend the next two months pretty much doped up and snoozing or watching old movies on DVD. Occasionally I’d look out the window fearfully at all the snow and ice, and be afraid I was losing contact with normal life and activity and maybe a bit of my sanity.

I saw my dead father driving in town again. It’s April and tulips are pushing up from every other corner. He seems to have upgraded his ride to a 2001 PT Cruiser—somehow looking quite at home in the 1930’s retro-based curves of this car. Instead of doing a search on the Internet to figure how dead people finance the purchase of good used cars, I decide to coffee up at Café Hemingway to fight the hydrocodone jones that haunts me from time to time. Heroine in pill form one movie starlet in recovery called it. She was on methodone to transition from the habit. And to think that doctors prescribe this shit—so cheap—like $10 for 30 tablets—one tablet every 4 to 6 hours for pain. I can attest that after a week using the stuff, pain gets a fairly liberal interpretation.

But I developed an intolerance to it. It stopped making me feel so good, so invincible. It started to make me feel plain bad. Nonetheless, cravings come back, and I find myself reaching for caffeine and chocolate to fill the void sometimes. I’m a depressed head as a matter of course anyway, so any legal, natural antidepressant is welcome now and then.

So I sit in Café Hemingway trying to get my bearings. It crosses my mind that I could tail my father across town to see where it is he goes. Does he park his ride in the cemetery at night? Does he crawl back down into his grave to rest? I don’t know. I would like to find out. Yet I’m a bit of a chicken, and the thought of tailing a revenant corpse through daytime traffic makes my sense of logic reel—I feel hot flashes and sweat starts to bead on my upper lip. I start to feel that “no escape” feeling—and I’m not really sure where I’d go or what I’d do if I caught up with him, other than find a quick corner to hyperventilate and vomit. Get a grip, I tell myself—think about something nice. Take a walk in the park, look at all the flowers, concentrate on the trees.

Sitting by the window, I sip a cup of some exotic blend like “Senegalese Maximum Caramel” and I can see his car when he pulls up, parks and starts wiping his eyes with a clean handkerchief. Death has not aged him one day, and despite the eye-wiping, he looks fairly happy and content with his afterlife. He is wearing the same powder-blue cabby’s cap he liked, and the powder-blue cardigan he never seemed without—like when he roasted weenies after work on the backyard barbecue in early autumn or late spring. I see him blow his nose in the handkerchief, just like he would blow his nose before he teed off at Willow Wood Municipal. There always would be some magic round of nine holes that would embolden him to enter the city tournament. Every drive would thunder, every approach shot would be crisp (and maybe even hole out), and every putt would clatter into the cup with the sound of triumph. But come the qualifying round of the tournament my father would come unglued. He would turn into a machine that would either slice the ball out of bounds, or top it with a sputter off the tee. Humiliation would deter him from competitive play for about a year. Then his faith would build again.

I’m tired. I drink my blend and something like optimism washes over me. He shifts into reverse and stiffly cranes his neck to back out of the spot. It half crosses my mind to dash out to my car and follow him, to see where he goes, what he chooses to do with his day now that he has passed away. But I don’t. I sit there and drink. “For now,” I say to myself. “Just for now.”

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Robert McDowell joins Irving Toast, Poetry Ghost Host Rustin Larson, Sunday 10:30 am, Monday 1:30 pm

October 31, 2008 · Leave a Comment

Tune in to Irving Toast, Poetry Ghost on http://www.kruufm.com

Robert McDowell

Robert McDowell’s poems, stories, essays, and reviews have appeared
in hundreds of magazines and anthologies here and abroad, including Best American Poetry, Poetry, The New Criterion, Sewanee Review, and The Hudson Review. He also offers one-on-one mentoring and coaching for businesses and groups interested in improving their spiritual awareness, listening, communication, writing, and presentation skills.

ADVANCE
PRAISE FOR
POETRY AS SPIRITUAL PRACTICE

“At the same time that Robert McDowell is teaching us to approach the
reading and writing of poems as acts of prayer in his brilliantly insightful
book, Poetry as Spiritual Practice, he is quietly doing another astonishing
thing: creating community.  McDowell’s exercises at the end of each
chapter liberate poetry from a solitary contemplative practice to a collective
celebration of the sacred.  I will share this book with everyone I love.”—Mirabai
Starr
, author of new translations of Dark Night of the Soul by John
of the Cross and The Interior Castle and The Book of My Life by
Teresa of Avila

“Reading this lovely guide awakens in you a deeper appreciation for poetry and
messages of the Spirit. It communicates a poet’s soul—and helps you articulate
that deep place of truth for yourself.”—Caroline Myss, author of Entering
the Castle
and Anatomy of the Spirit

“In the way that Rumi allowed us to touch the heart of our soul, Robert
McDowell—with a lyrical grace—shows you how to easily create poetry that can
propel your spiritual journey beyond normal reality into cherished mystic
realms.”—Denise Linn, author of Sacred Space and The Secret
Language of Signs

On Foot, In Flames (University of Pittsburgh Press,
2002), a finalist for the Oregon Book Award, is Robert McDowell’s third
full-length collection of poetry.

“Following a trajectory from apocalypse to redemption,
McDowell’s third collection invites readers to go “into the writing where
anything/Can happen.” On Foot, In Flames is filled with “a sweet
sighing/From the souls of trees” and “recollections of the days when
you/Surprised yourself with competence, even grace.” McDowell appeals to
grace in part as a response to violence, as in his depiction of working in a
tannery-”Stitched into gloves and apron,’Lye-spattered, soaked with
grease,/I feed my machine 1,200 hides a day./Sometimes I think this was the
neck, this the tail”-or in the blank-verse monologues that witness, among
other things, violence against women.”

— Publishers Weekly, May 27, 2002

“I am caught up again and again in McDowell’s strong narrative line.
Whether he is reshaping an old myth or detailing an actual event, this poet is
a storyteller at the top of his form.”

— Maxine Kumin, winner of the Pulitzer Prize for Poetry

“On Foot, In Flames is filled with loneliness, with the knowledge that
‘the world dismantles us,’ but it’s also prayerful, its music an affirmation
that threads through even the narratives of violence and betrayal.”

—Kim Addonizio

“On the surface, these poems seem easy reveries, hymns to family and
farm, human yearnings toward God. But they are also an ambitious scrutiny of
these subjects, tough-minded and honest.”

— Chase Twichell

“McDowell’s long poems tell stories, and his short ones are vignettes
that pique the reader’s narrative imagination. His new poems constitute quite
an advance…Very impressive.”

—Ray Olson in Booklist, March 14, 2002

“Recommended!”

— Carol Muske-Dukes in Los Angeles Times, December 8, 2002

“McDowell’s language is sometimes heartbreakingly beautiful, his flow
as caressing as a cherished memory. True, the poems here are often redolent
with human loneliness, dangerously aware of the fragility of the human psyche.
But McDowell’s vision, his gift, transcends mere pathos. McDowell knows the
stories that form the lining of the human heart.”

— Dan Hays in the Statesman Journal (Salem, Oregon),
May 12, 2002

__________________________________________________________________

The Weekly Toast:

Went to dinner in Columbia, Maryland

at the house of your closest work-friend.

Her hubby, who spied for the CIA,

could be called “to duty” at any hour

and he could never tell her where.

She handed me a Miller’s High Life and told me

to loosen my tie. We had a strange

dinner of peanut-butter chicken and hand-

grenades (as her hubby called artichokes)

lovingly prepared by her slightly handi-capable

brother who had washed his hands slowly

singing “Happy Birthday to Me” three

times, twirling the Life Buoy in his mitts.

I once had a cocker-spaniel puppy for three days

who would not leave my side and who curled

upon my pillow at night and farted

in my face.

I woke often

to let him out.

I’d sit on the steps of the moonlight

as he chewed grass. I’d watch

my breath cloud above me.

Irving Toast

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Radianthology

April 10, 2009 · Leave a Comment

Radianthology #1. Irving Toast, Poetry Ghost. Sun@10:30am/Mon@1:30pm

RadianthologyI put the final edits on Radianthology #1 and it has been llama-tested and mother-approved and is ready for broad(web)cast on Sunday, April 12th at 10:30 am and Monday, April 13th at 1:30 pm (Central). http://www.kruufm.com. It features some wonderful word performances by Ray Succre, Patricia Fargnoli, Paul A. Toth and Jacob Russell.

And for good measure I threw in Craig Deininger reading (once again) “Perhaps the Aliens,” a short episode of Dr. Whom by the BBC Radio Women’s Auxillary (spoof), Mark Twain praising book royalties in the afterlife, my poem “Carroll Street” and yeah, I jam on my guitar once in a while. OK, a lot, as spacers, audio dingbats as it were. The ghost of Truman Capote also makes a cameo appearance for a public service announcement. All in a day’s work.

Folks are sending in their Mp3s for the next Radianthology. That’s great!!! Remember, I have to play by radio rules, so there are lots of things you can say on the radio, but there are a few things you can’t (you know, explicit, naughty, sexual, and so on… Pull Jiminy Cricket out of your pocket and let him be your conscience in this matter). That being said, I’m still glad to receive Mp3s if you are interested in participating.

Send to rustinlarson@gmail.com

P.S. I’m still going to interview Annie Finch as soon as we find a compatible time window. I’ve been sick, etc. Stay tuned.

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The Ghostest with the Mostest

March 25, 2009 · Leave a Comment

Tune into, on to, in to Irving Toast, Poetry Ghost

http://www.kruufm.com/station/archives/3238

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Karin Gottshall

January 17, 2009 · Leave a Comment

Poets Out Loud Winner Karin Gottshall on Irving Toast, Poetry Ghost, Sun 10:30 am/Mon 1:30pm cst

Karin Gottshall“Crocus” was the 2005-2006 recipient of the Fordham University Press Poets Out Loud prize and was selected from more than 1,000 manuscripts by poets around the world.
Poets Out Loud is a community of poets established in 1992 by poets, faculty and students at Fordham University in New York.

Poet Mark Doty has praised “Crocus” and said, “Karin Gottshall’s debut is fresh and bracing as a new snow; she weds a tender regard for the world of things to just enough disenchantment to make that love feel real. These poems understand that the will to join ourselves to the world sits right beside the desire to fly above and away from it.” A reviewer for Publishers Weekly wrote, “‘Crocus’ turns the ordinary interior worlds created by myth, art and memory into the extraordinary.”

Gottshall has published her work in the New England Review, The Gettysburg Review, The Southern Review and Virginia Quarterly Review. Her work was nominated twice for a Pushcart Prize, and former United States poet laureate Ted Kooser chose to include her poem “The Ashes” in his ongoing project, “American Life in Poetry,” which provides newspapers and online publications with a free weekly column featuring contemporary American poems. She lives in Middlebury and works at Middlebury College.

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Yakka yakka yakka yakka no

January 12, 2009 · Leave a Comment

Bits of Interest, and More Rumi, on Irving Toast, Poetry Ghost

ShroesbreeRumi is read from the MUM Library; a confused puppet interviews himself; the blues guitar goes twang; Rustin reads a robust rendition of some rousing rural rarebits. This all happens Sunday at 10:30am/Monday 1:30 pm central.

Daffodils
bloom, fevers
flash, nebulae hover,

pulse
white and yellow. Can you smile dawn and dusk
and pretend it doesn’t hurt? The nurse

stops
a moment her whirl,

all
too perky, asks if you glitter,

oh organ donor, before they wheel you

to surgery. The anesthesiologist,

wishes
upon the shining gears of heaven,

squirts

the eternally lit sixteen candles

of
clear liquids into the IV catheter.

Are
you a machine or Aphrodite’s birthday cake?

Can they turn your lights off and on?

Are
you the point of lethal injection?

Someday
you’ll forget, thank God. Newspaper?

Percolator? You wake with a funny
steam

where
the words for the opportunity

rise
from your nose, then you are asked

to sign something, the signature

comes from having your eyes opened by bells

and
isn’t yours, and you wake and say yes,

machine, night shirt on pillow,
emergency, and red,

I’m
alive, yes, I get to try and figure

the
city, for long hours, without seeing breakfast

all over again, I know

the
gumball, doodlebugs, buzz bombs, and rope

of
what you mean. You say, okay, this is good.

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Pavement

December 27, 2008 · Leave a Comment

Irving Toast, Poetry Ghost hits the “Pavement” Sun 10:30am/Mon 1:30pm

dudeThe Ghost gives up a lyric/narrative sequence entitled “Pavement” for the next episode of Irving.  One quarter rock opera, one quarter literary jam session, and a good half of a long poem in progress, we’ll take fries with that, a swig of the oh-be-joyful, and worship our muses and literary goddesses at will, be there the frank fact of the winter moon shining over the shimmering snows or no.

Happy New Year, Charlie Brown!

The meter and shape

Of his lines were

Determined by the

Width of the notebook.

He’d drive around the

City for hours in a

Green 1964 Beetle

Looking for the ultimate

Glint of sun off the

Buildings. He

worshipped

Snow at dusk, the

Purple stripes crusting

The roadsides, the

Cawing of crows he

Couldn’t see. It was

Near the sculpture garden

He’d sit and he could

Barely make out the words,

But she, at least,

Was beautiful in

His mind, he knew

She always would be,

Guan Yin, the goddess

Of compassion, whom

He knew and whom

He would meet again,

The starlight gaining

Thirstily above him,

The celestial city of

Wonders thrown

Open coldly, but

With such pulsing beauty.

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Irving Toast, Poetry Ghost

December 26, 2008 · Leave a Comment

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“Irving Toast, Poetry Ghost” Featured in Iowa City Press-Citizen Today

December 18, 2008 · Leave a Comment

‘Irving Toast, Poetry Ghost’Rustin Larson

Mike ChasarMike Chasar • Poetic License • December 17, 2008

The recent announcement that Iowa Public Radio will no longer broadcast “Live from Prairie Lights” has given some people in Iowa City pause. So I went looking for other radio poetry shows to see how they’re faring as well.

Turns out I didn’t have to look far — just down the road in Fairfield where radio poetry appears to be doing fine on KRUU 100.1.

Every Monday [1:30pm] and Sunday [10:30am], KRUU airs “Irving Toast, Poetry Ghost” with host Rustin Larson, who features live readings and interviews with new and established poets. I had a chance to talk with Larson about radio, poetry, “Live at Prairie Lights,” and his mysterious KRUU muse:

[To read the whole piece, click on Mike's picture. press-citizen.com]

Mike Chasar is a visiting assistant professor of English at the University of Iowa.

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A Concentration of Daylight

November 29, 2008 · Leave a Comment

Irving Toast, Poetry Ghost: “A Concentration of Daylight,” Sunday 10:30am/Monday 1:30pm

<!– –> Edit

A Concentration of Daylight

Do you have the voice? Tune within and see.

The mysterious Chinese convenience store’s

second door


opens upon the darkened China

of the mind.


Its tea is some sort

of excursion


and temporarily deals

with the permanent.

A rider boards, wants to be left off

at the bridge.

The mask she wears:

watch parts, microscopes, radio antennae.

The earth’s odometer

clicks another digit.

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Rock L’Orange

November 14, 2008 · Leave a Comment

Radio Debut of “Autobiography of Clerk Typist GS-5″ on Irving Toast, Poetry Ghost, Sunday 10:30am/Monday 1:30pm

Rock L'OrangeSo, who says Rock L’Orange can’t write?  Certainly not I, Irving Toast, your beloved disembodied poet laureate!  Rock L’Orange’s short fictions are tres poetique and come at you from all sorts of weird angles.  I love ‘em.  He should be more widely read.  Let me repeat that.  He should be more widely read.  Ah, but his writings shall hit the airwaves soon, and you shall give a listen to his fictional Autobiography of Clerk Typist, GS-5.Rock L’Orange’s stories have appeared in The MacGuffin, Lime Green Bulldozers, The Contemporary Review, The North Warren Town and County News, Nasty, and The Iowa Source.  Born in Iowa in 1959, Rock L’Orange soon took to the literary life.  L’Orange’s father was a television technician who collected restaurant spoons from seaport towns.  He wanted his son to become a minister, but L’Orange rejected this and studied creative writing.  L’Orange was influenced by Gordon Weaver, Gladys Swan, and Jack Myers.  It was Myers who first introduced L’Orange to the ideas of Eek, Ack and Ook (the deep interconnection between the artist, the work of art, and the creative process) and the idea that people should not be punished for enjoying peppermint schnapps.

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