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Albino (part one)

I began writing Albino two million years ago. I had an editor then, who lived a few blocks away. We would meet for breakfast on Avenue A, quietly forking into home fries as we discussed the structure of the story - the economy of objects. A dollar bill was not just a dollar bill in this story, it was connected to thought and action, to music and transformation. This was the story that told me there was a whole book to dig into, mining for diamonds in the backwaters of America, turning over the ugliest rocks to better understand relationships between fathers and sons.

Last week, I stumbled across a call for submissions - not for a journal, but for a podcast where the work of new writers was read aloud. I thought back to a reading I had done of just the first few pages of Albino - a messy hero's journey,  a young man and a guitar, a man with loss and regret, a man that still had something to lose. That reading went well, enough that I felt a strange elation stepping off the stage i…

the ocean


There is an undertow at work, a sense of the inevitable. A shiver when you enter an empty room. There are crows fighting in the trees outside the windows. The snow comes, with barely a warning. The sky, a flat piece of paper with nothing written on it. Boots are tugged from the backs of closets. Heavy coats smell of dust, and old cardboard boxes. My gloves appear, twisted into a tight ball from the last time I wore them.

But the undertow is much more than snow, much more than cold weather. There is a shadow, and I ignore it as often as I can. But this lurking ocean, this golem - they can see the future. At least I think they can, and that scares the hell out of me. We live in a time of paranoia. Maybe we have all been living in the shadow of some fear for generations, ever since the atom bomb. Maybe the cavemen were scared shitless too.

I brush it off as often as I can. I make things. I run around in the woods with actors and cameras and brush this sense away, like a bug on a picnic blanket.







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