It’s book week at MFW!

Two great reads under my belt in the past few days – Walter Mosley’s Debbie Doesn’t Do It Anymore and Haruki Murakami’s Colorless Tsukuru Tazaki and His Years of Pilgrimage. Coming off a failed attempt at Donna Tartt’s The Goldfinch, it was a relief to pick up a couple of winners.

I just finished the Murakami this afternoon, and it pushed all my buttons. Deeply felt, beautifully written<fn>If the translator is to be believed.</fn>, and paced like a slow walk in the woods. Tsukuru is a 36 year old man who suffered a terrible sadness at age 20, nearly died (or attempted suicide) as a result, and has lived a dull and hermetic existence ever since. The book is his long-overdue journey to understand (or not) and come to (or not) a sense of acceptance. It seems that Murakami’s lifelong project is to try to make sense of loneliness and alienation, and in this book it’s no longer buried under metaphor; the loneliness is front and center this time.

It’s almost a trademark of Murakami to focus on a disaffected, emotionally frozen protagonist. He’s done it often, and well, but it never feels as if he has settled into formula, from Toru Okada in Wind Up Bird Chronicles to Kafka Tamura in Kafka on the Shore to Tengo Kawana in 1Q84. Tsukuru is similar to these characters, but distinctly his own man, no small irony with the central conceit of the novel asserting that he is inherently bland and colorless.

The ending<fn>Which I loved!</fn> leaves many questions unanswered, and as I approached the end and realized this was to be the (ir)resolution, the sense of warmth and affection I felt for Tsukuru multiplied itself. Some people hate the unresolved ending, but I’m not one of them.<fn>Please refer to the Legal Disclaimer at The Immunity Manifesto for details.</fn> I loved the ending<fn>Yes, loved!</fn>, one of the most satisfying book closings I’ve enjoyed in years.

Previous Murakami novels include Kafka on the Shore, Norwegian Wood, The Wind Up Bird Chronicle, and 1Q84. I loved them all, and there are many more waiting for me. He’s hugely popular in Japan; Colorless Tsukuru sold over 1 million copies in the first week of release in Japan. He’s worthy of the hype.

(btw, my daughter’s English class read Kafka on the Shore last year. I was pretty excited about this and I re-read it along with her. But at some point in the reading, one of the students told her mother that there was s-e-x in the book. Said mother stormed into the school and demanded that they stop teaching the book. Sadly, the school caved. I remain furious with this meddlesome, bible banging rube. Definitely not a contributor to My Favorite World.)

There are some similarities between Tsukuru and The Goldfinch. The protagonist in each book suffers a traumatic emotional episode as a teenager. Both books explore in great detail the interiority of the main characters, and do so at a slow, nearly glacial pace. Yet Tsukuru was so compelling I read the full 400 pages in less than two days; with the The Goldfinch, I could not wait to put it down every time I picked it up, and after 200 pages over two weeks, I finally couldn’t stand another word of it. I can’t put my finger on why, necessarily, other than I experienced Tartt’s writing as slooow for the sake of being slow, almost like a technical demonstration.<fn>Watch me! Watch me!</fn> With Murakami, the slowness had a forward rhythm to it that gave me the sensation of living inside Tsukuru’s insular and measured world; it felt like an organic aspect of the experience rather than a parlor trick.<fn>I realize I’m in the minority on Goldfinch, and do not suggest that if you liked it you’re wrong or anything like that. I might actually have liked it at another moment in my life. Books are funny that way.</fn> End of crappy comparative lit exposition…read the Murakami. You’ll be glad you did.

Walter Mosley continues to amaze. He’s written more than 45 books, and I’ve read around 30 of them. None have made me feel like I wasted my time. Debbie is about a porn megastar in L.A. who decides to make a break from the business. Mosley gets deep behind her character’s motivations and history; we get a real sense of Debbie as a person, not just, as she puts it, “a set of orifices on the screen”. Add to that a suspenseful plot and Mosley’s mastery of language and sly sense of humor…well, it’s a quick read and a winner. And as always, Mosley uses his characters and plots to examine the dynamics of life as an African-American.

Sitting at hand is the latest in Mosley’s Easy Rawlins series, number 13. Like most of his fans, Rawlins is where I first got to know Mosley, starting with Devil in a Blue Dress in the early 90s. Unfairly, this series about an accidental LA private eye in the post-WW2 era got Mosley pigeon-holed as a mystery/crime writer<fn>A genre I truly love, btw.</fn>, but he is so much more. Rawlins is the author’s eyes and ears, showing and interpreting the post-war experience of African-Americans in Los Angeles.<fn>Think Chinatown from the perspective of the black community.</fn> The plots and mysteries are always top notch and keep you on the edge of the seat, but they are in some ways incidental to Mosely’s central project – an exploration of the political and cultural factors that served to define the dimensions of what it means to be Black in White America, and what that means to his primary characters.

So I read the first couple of pages of Rose Gold and began to think I should go back and re-read the series before I read this one<fn>I first read Devil in a Blue Dress about 25 years ago.</fn>, just binge it like a Netflix series. I have a huge stack of reading on my nightstand, so this feels like a scary commitment, but it might be time to re-visit the origins of Easy and Mouse and Jackson Blue.

By 1995, Denzel Washington used his clout to get Devil on the screen. In a sane world, this should have been a long-running franchise, but leave it to Hollywood to fuck up a perfectly good crowbar. Still, the movie remains memorable as the first time I laid eyes on this guy.<fn>Not entirely true. It turns out I’d been watching him for a few seasons in a better-than-average tv series called Picket Fences, but he was so completely transformed in Devil that I didn’t realize it for a while. One night while watching him play the quiet, dapper DA in the show, it hit me. His great career is no surprise…the guy had chops from the start.</fn>

This was Don Cheadle’s breakthrough, as Easy’s best friend Mouse. A homicidal criminal and true blue friend, Mouse is one of my favorite characters out of any book. Denzel was great as Easy, but Cheadle just nailed this role. You literally can’t look away when he’s on screen. He is absolutely one of the My Favorite World all-stars.

All this leads me to think I should also re-read The Man in My Basement, which is my favorite Mosley to date. And that leads to the Socrates Fortlow and Leonid McGill books, and his sci-fi novels and stories, and, and, and. He has demonstrated time and again that he transcends the crime writer straight jacket.<fn>Hell, Man in my Basement is way closer to Chekhov than Chandler.</fn>

Seriously, 45 books in 25 years. That’s some badassery right there.

So to sum it all up….

Haruki Murakami:

Walter Mosley:

My Favorite World.

nos·tal·gia
näˈstaljə,nəˈstaljə/
noun
1. a sentimental longing or wistful affection for the past, typically for a period or place with happy personal associations.

Nostalgia is a great way to escape the present. And despite a few half-hearted attempts at addressing the latest episodes of state-sponsored violence and racial disparity, your Narrator finds that refuge irresistible right now. A sharp observer with keen understanding and insight could make sense of recent events playing large in the news. I’m not that guy, so if that’s your desire, I recommend this recent piece from Ta-Nehisi Coates and this one from a year ago. He puts a bow on a package that too many people are afraid to unwrap.<fn>In fact, you really could just skip my meander down memory lane and deal with Coates. And I’ll say again: that Coates is not twice-a-week at the NY Times while mendacious hacks like David Fking Brooks and Ross Cardinal Douhat are gainfully employed is a fundamental crime. Never mind the demented harpy Dowd. But I digress.</fn>

I spent last weekend in Atlanta, mostly in the neighborhood we called home for 17 years. The photo up top is a peek down the garden path to the side of this place, our last home in the ‘hood before we decamped for the Swamp.

This former Sunday school building was our home from 2002 to 2006. We lived upstairs in a gorgeous loft-style aerie. Downstairs was home to the Center for Creative Aspiration, a 501(c)(3) arts organization that we established to host a variety of fun, rewarding, and indescribable experiences. See that landscaping? We did that. After we left, the grounds fell into sad disarray, but recent new owners have reclaimed the beauty.

Also, too…the church next door, which closed right after its 100th anniversary celebration in 2003, has been resurrected<fn>See what I did there?</fn> and is now home to a vital, primarily Africa-American congregation. Even cooler: the downstairs of the church is now home to a 501(c)(3) arts and music organization called HealiUm.<fn>That alone kind of makes this a My Favorite World post.</fn>

As much as I loved living at the CCA, it’s the Blue House that still has a hold on my heart.

The Blue House is a classic Craftsman built in 1907. We lived there from 1993 to 2002. The first time I walked in, I felt like this house belonged to me.

Standing outside last weekend, I still have that feeling. The current owners are terrific friends who moved from three doors down, because they also love this house. It shows.

The library is their addition. They’ve also restored the floors and much of the original detail. The yard looks even better than when we left. But they had limits.

A few years ago when I drove by they were outdoors and invited me in. As I walked in, I was wondering (and dreading) what they had done to cover the 360^o mural Judy had painted in the dining room. This was a very personal piece that featured idealized-but-recognizable versions of the two of us, our daughter (pre-Ben days), and our dogs Starr and Fira. So it was reasonable that the new owners would get rid of it.

Wrong. As they told me: “It’s part of the house!”

As I was going all verklempt<fn>Like I’m doing as I write this.</fn>, Liz invited me to look at the kitchen. It was gorgeous, completely re-done the way we would have done it. She waved me over to the door to the basement. And there, with a completely new and different paint job covering everything else, was the door jamb where we tracked the kids’ height with pencil marks…unpainted and unchanged except for the additions of their kids’ height markers and dates. They had re-painted everything…except for one side of one door jamb.

I said some quick goodbyes and thank yous and scurried out of there in time to save my meltdown for the inside of my car as I sat looking at this view of My Favorite House.

They weren’t home last weekend, but several of our old friends and neighbors were, and we held an impromptu street party, and while I was not wishing I still lived there, I was pretty well washed in the water and enjoying the warmth of both the memories and the present moment.

Both these houses represent some pretty significant moments in the lives of our little clan. Children arriving. Dogs departing. Concerts played and recordings made. Musicians of substantial and lesser renown from all over the world stayed here while on tour. The CCA hosted 18 guitar players for a 3-month stretch in 2003, thereby guaranteeing Judy an aisle seat in Heaven. Shortly after that, the California Guitar Trio moved in for a 2-week writing and rehearsing retreat. We hosted some great friends and their gang who had to flee Katrina damage, up to a dozen at one point.

Lots of good things happened there. And for a brief time last weekend, the memories of that time gave me a tremendous sense of comfort and understanding of my place in the world, both then and now.

And then I drove home, with plenty of time to reflect. And as I approached my current home of almost 7 years<fn>Ho-leee shit!</fn>, I realized that I couldn’t imagine a better place for me to live now than this one.

It’s no turn-of-the-last-century Craftsman. It does not boast a loft-style aerie with a 60-foot long and 10-foot wide central hallway.<fn>The kids kind of learned to ride bikes in there, and it was a great bowling alley.</fn> And it certainly doesn’t have room for 18 guitarists to visit the evening, much less bunk in for three months. But it’s a damned fine place to live a good life. Like anyplace else, whether that happens is pretty much up to me.

That happy little spot – complete with mini-library kiosk – is the Norton Arts Center in Hapeville, GA.<fn>A close southern suburb of Atlanta, featured prominently in Gone With the Wind.</fn> I paid my second visit there on Saturday, this time as part of RoboCromp – Chamber Fusion for a New Millenium.

RoboCromp has been active-even-while-dormant since 2004, with two CDs recorded. <fn>Only one released. It is available for a few shekls to the interested. It is also fking terrific.</fn> We played two sets of mostly Cromp originals, with a few covers from the songbooks of Steve Lacy, Ornette Coleman, Abdullah Ibrahim, and Bill Frisell.

Turns out we were scheduled cross-town from an appearance by Marshall Allen of Sun Ra Arkestra fame. A handful of our intrepid pals came to hear us, but to be honest, I would have made the Ra pilgrimage myself if I had not been gigging.

Still, it was a terrific night. My first gig since September, so a bit ragged here and there, but generally a spirited and satisfying performance. There may be a recording, but so far, no confirmation on that. The only bummer is that we had been working a new piece pretty hard lately, and then we forgot to play the damned thing.

Guess we need to keep doing this until we get it right.

Playing the music. My Favorite World.

PS – Eagle-eyed followers of the blog<fn>If such a creature exists.</fn> will have noticed the absence of the Monday diversion this week. It will be along shortly, and before the next Monday diversion is due. Perhaps. No promises.

All that stuff is packed up and I’m on my way to the ATL for a gig. First public noisemaking since September. Say hallelujah.

If you’re in Atlanta Saturday, here are the details.

This is the band that will not die: RoboCromp. We’ve been playing together off and on for 27 years. This project goes back 11 years. Here’s what RoboCromp sounded like in 2004.

What do we sound like now? Find out on Saturday. Just like us.

My Favorite World.