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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 immigrant and the exile


The expatriate remains patriotic - loving their country from a distance. Their loyalty does not waver.

The immigrant is a foreigner that works in another country as a result of some form of escape, some desperate act.

The exile does not love their country, and it can be said that their country rejected them.

Which one wakes up homesick?

Which one can shrug off the betrayal, the long shadow of the dream of a better life when it sours and fades?

There are days when  I see no difference between the immigrant and the exile, two sides of the same coin. The expat is a blind romantic, their decisions set as young men and women, their senses dulled to nothing. I have started to understand I am not an expat any more, as I do not love my country. I tolerate it.

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