I just finished reading And So It Goes, Charles J. Shields’ biography of Kurt Vonnegut, and have mixed feelings and unchecked nostalgia.

The mixed feelings part: the book was somewhat lopsided, but I liked it more than most of the reviewers.  Like someone reviewed it “and so it goes - into the trash,” and I didn’t have that bad of a reaction to it.  I do think Vonnegut probably deserves a more scholarly approach, something that carefully studies all of his books, analyzes their meanings and connections, and focuses less on his life.  That was the main criticism from many reviewers, that Shields didn’t “get” Vonnegut’s work, and dwelled on stuff like his assholishness and extramarital affairs.  I don’t know if he “got” it or not, but he didn’t spend the amount of time on it I would have liked.

That’s not to say Vonnegut wasn’t an asshole.  There’s plenty of examples covered in the book, from the extended divorce-or-not-divorce antics with both of his wives to the various affairs and infidelities.  There’s also all of this business about Knox Burger.  Burger was one of Vonnegut’s early champions, someone who, as the editor at Collier’s, got his short stories published; later, when at Dell, he got his books put out there.  When Burger was thinking about quitting Dell and taking the great leap into being an agent, Vonnegut whole-heartedly encouraged him to do it, and said he’d totally jump ship from his representation and come over to him.  So Burger quit, and Vonnegut told him he couldn’t do it.  There are several other examples of this kind of indecisiveness, and maybe Shields just cherry-picked some of the worst incidents and framed them to draw a morbid picture, but it’s all the kind of stuff I didn’t think about when reading Vonnegut’s fiction the first time.

I think that’s what bugged me about Vonnegut’s post-Timequake career, and this book.  I first read Slaughterhouse-Five as a college freshman, sitting in the IMU building on the Bloomington campus (which, coincidentally, Vonnegut’s dad helped design) and that metafictional construct of mixing himself and fiction into the same story line made me think that in some weird way, I knew him.  I didn’t know anything about him outside of his books; there was no wikipedia back then, and maybe he was in the New York gossip papers, but he wasn’t in the news out in Indiana.  I didn’t hear about the divorce news or the struggle he went through to write Timequake, and being oblivious to that stuff left the persona of Vonnegut much more impressive to me.

When I first started writing in 1993, Vonnegut was one of the writers I took a serious deep dive on.  I bought every Laurel paperback edition I could get my hands on and plowed through them all quickly.  My favorite was Breakfast of Champions, and I probably read it once every year or so, especially when I’m sick of everything else and just need something quick and decent to straighten my head again.  That said, Vonnegut was one of those lithosphere layers of literature for me, something I could easily consume and that would leave an impact on me, but all of the books blended together and didn’t have the forever scarring effect that a more difficult read might.  Nobody else wrote like Vonnegut, which meant his stuff was unique, but it also meant I couldn’t descend further into his madness.  I read the core canon of his stuff, then moved onto other things, occasionally dipping back in to reread a book out of nostalgia.

But at some point, Vonnegut started to lose his charm to me.  I think part of it was the balance between his fiction and his hashing out his personal life in the form of metafiction, until it got to the point (maybe around Palm Sunday) where there was no story and he was just throwing out straight memoir.  By then, he moved, in my eyes, from metafictional genius to cranky old man.  Timequake tried to turn this on end, with this strange twist of exploring determinism with the gimmick of time being stuck in a mobius loop, but he ultimately got dragged into this sea of autobiographical misery.  Everything he did after that was either re-releases of stories that were originally published before he his his stride, or old man rants on the state of politics in the Bush era.

So to read a whole book that contains only these personal life details was somewhat depressing.  The part of the book up to the publishing of Slaughterhouse, the bits about his struggle to find an audience, were compelling.  But after that, it feels like the back half of the book was nothing but Vonnegut waiting to die, which was incredibly depressing.  It’s not that Shields did a smear job on him; the content made it unavoidable.

Oh well.  Maybe I need to re-read some of his old books to get this out of my head.

On Memorial Day, we decided to run into “the city,” although I hate sounding like one of those bridge and tunnel types that refer to San Francisco as “the city,” because I happen to actually live in A city, but not THE city.  (More annoying than this: the show So You Think You Can Dance recently held auditions at the Paramount Theater here in Oakland, this big, old-timey, restored grand theater, and in every narrative and establishing shot, they went on about “The San Francisco Auditions,” and showed b-roll footage of the Golden Gate and trolley cars and whatnot.  It would not have killed them to actually say they were in Oakland, especially when you’re a bunch of white-bread TV execs trying to look “urban.”  Anyway.)

So the goal of the trip was to go to City Lights, which I have not been back to in a long time.  And in thinking back, it turns out it was 15 years ago, to the month, since my first visit to San Francisco, and my trip there.  I wrote about this elsewhere, in an old issue of AITPL, and the basic rundown is that I was in San Jose for this trade show, working at my first job in Seattle, and I had pretty much an entire day off , and no plans whatsoever.  I loved being in California, loved the weather and the smell of the air and the sunshine, but schlepping around a convention center in a stupid logo-ed polo shirt, handing out CD-ROMs (remember those?) and software to people during the not-yet-burst internet bubble wasn’t exactly the way to see the Bay Area.  Walking back to my hotel, I realized they had a little rent-a-car desk off the main lobby.  Then I realized I was now 25 and had an Amex gold card in my wallet, which meant I could, for the first time, rent a car.  20 minutes later, I’m jetting north on the 101, headed for this city I barely knew, only a rental car map in hand, no GPS, no addresses, no plans, no google on a phone, just a vague idea that the center of the Beat universe was somewhere on Columbus street.

I have no idea how I found the place back then, but I did, and I was in the very same building where Ginsberg read Howl, where Bukowski’s short story collections were published, where every Beat poet wannabe aspired to be shelved.  It’s not a huge store, and back then, it wasn’t that overwhelming.  I mean, you’ve got this Kerouac street outside of it, and So I Married an Axe Murderer, a movie me and Simms and gang memorized in the mid-90s starts and ends in that alley.  But in 1996, there were plenty of great book stores around; I think there were a half-dozen great stores the same size or bigger within five miles of my old Seattle apartment.  I did buy an issue of Cometbus, the first I’d ever read, and wished I had the cash and luggage space to buy a dozen other things.

I figured the city would be jam-packed with tourist types, but after we crossed the perpetually-under-construction Bay Bridge and its doppelganger 21st-century twin, traffic was spectacularly light.  After cutting through a completely vacant financial district, we found a street parking space on a hilly part of Columbus, something I’d only expect to see after a total nuclear holocaust.  Of course, there was no indication as to the meter situation on the holiday, so we risked it, and of course got a ticket.  But still, it’s the thought of a street parking space for free that counts.

I remember eating at some eclectic fusion-y diner restaurant with toys spray-painted gold and glued to the walls, maybe called Icon back in 1996, and I’m sure that’s long gone.  We ended up at some odd 70-year-old sandwich shop for lunch, a place covered with Pittsburgh Steelers stuff.  The sandwiches were made with both fries and coleslaw on the sandwich, which I did not really like, but they did have some awesome onion rings.  This was, unfortunately, one of those carb-heavy meals I can’t really deal with anymore, and within an hour, I was pretty much ready for sleep.

We went to City Lights, and it looked remarkably like it did back in 1996, and probably like 1966, except for maybe the computer registers, and swap out all of the purple-type mimeographed zines for photocopied ones.  It looked smaller than I remembered, but the selection was still astounding, and I instantly found a few dozen things I wanted to buy. There is the issue, however, that I’m running out of storage room, and I’ve got a queue of at least a dozen books on the to-read pile already.  But who cares.  When they film my episode of Intervention, I’m going to have a couch full of family members and that bitchy old lady counselor yelling at me about my private library hoarding, and I’m fine with that.

But my general attitude on the beats is somewhat varied now.  In 1996, I was just recovering from the near-terminal case of student poverty, and dropping every spare dollar I could find on building my book collection.  I still didn’t have the complete collection of any of my favorites: Bukowski, Kerouac, Henry Miller, Burroughs.  Now, I’ve got most of their bibliographies on the shelves.  Some of them have estates that are still trickling out the occasional volume pieced together from scraps, or re-re-releases of “complete” works that would require me to re-buy yet another copy of a favorite book.  On the other hand, there are a lot of biographies and scholarly deconstruction books coming out as more generations find out about and study these original tomes.

The big problem is, I’m trying to avoid writing like these guys, and that generally means avoiding reading them.  I always love to go back and re-read On the Road, but within 50 pages, I’m either thinking about some grand road trip, or trying to re-spin pieces of my own past into some epic novel, and I eventually hit a wall there, thinking that either my own life is too boring, or I don’t find it within my wheelhouse to do something like that.  It’s not entirely my style, and I’d rather be writing something more bizarre.  But I do like to dip back into the stuff every now and again.

I ended up buying a copy of Raymond Federman’s last book, and two newer issues of Cometbus, which are now sitting on the pile.  We ambled out and drove around the city a bit more, and I still don’t entirely feel like I live here, but I feel an urgent need to consume as much of this as I can, because every time I leave a city, I realize how much I didn’t do there.

And even though City Lights was one of many book stores back in 1996, now it’s one of few.  There are zero book stores in West Oakland, and exactly one within a five-mile radius of my house, a Barnes and Noble which will probably shutter in the next two years.  There’s a healthy number out in San Francisco, but they’ve become rare.  I buy a lot of stuff online, so I’m responsible for their death, but I do miss the energy given off by large rooms of new books, and love a place that’s more than just clip-on book lights and mass numbers of covers-out Twilight and Eat Pray Davinci Girl in the Dragon Tattoo books.

I wasn’t set to go down the military history wormhole and start reading books about Iraq, but while I was going through one of the Henry Rollins journal books, he mentioned Buzzell’s memoir, and I picked up a copy.  Going into it, I knew nothing about it, none of the background, his history, and I never read his blog.  I didn’t know if he was a staunch anti-war type, or a flag-waving republican.  I didn’t even know if he lost his arms and legs from a car bomb, or if he was now a regular commentator on Fox News.  All I knew was that Rollins liked him, and the book was well-blurbed.  Even Vonnegut gave it a good blurb.  So I was hoping for the best.

Then I started the book, and found out that he’d kept a blog during his time in Iraq, and this was a book made from the blog, and my heart sank.  I hate when people repackage blogs into books.  One reason is that blog to book people rarely repeat their performance; they’re almost always one-shot wonders.  And I love to be proven wrong by this, but it’s just an issue with the format.  You put your all into a blog, every part of your life, and you only have one life, so you only get the one book.  Sometimes you get a follow-up, but it’s always the same book, the confusion and the grind of the post-blog-book world, dealing with publishers and press and all of that junk we don’t care about.  I especially don’t like the blog-to-book when I’ve already read the blog in question.  It’s like getting a greatest hits album from a band that’s got every single song you already have from them, and maybe a shitty live version of the one song you can’t stand to listen to anymore.

And yeah, part of my hatred for this is jealousy.  I’ve been blogging since 1997 here.  I did put out a book of the first three years of blog posts here, and nobody bought it.  I think I could probably get a decent book out of the thousand or so entries I have completed here, but I doubt it would sell.  And yeah, you’re saying, “but Jon, you didn’t go to Iraq and get shot at.”  No, I didn’t.  But it isn’t about the action as much as it is the character presenting it.  Buzzell presents himself in a way that makes him very likable to a certain segment of the population, and that translates into a story that people can relate to and that people will follow.  My likability… we’ll leave that for another discussion, although I think you know what my perception of that is already.

All that aside, the book is interesting because it’s hard to figure out who Buzzell is.  He’s this sort of boomerang kid, a former skate punk not into going to college and not into the popular scene like the rest of his high school.  He’s not pro-war or anti-war, but decides to enlist because it’s better than sitting on his parents couch or doing a data-entry job for nine bucks an hour.  You get the idea now that anyone volunteering for the army at a time when it was almost a guarantee to get sent into war was some bible belt Republican who loved God, guns, and George Bush.  And Buzzell shows that this isn’t entirely true, that you could come from some other background.

The story continues through basic training, on to a Stryker brigade at Ft. Lewis, up near Seattle.  A Stryker is a big 8-wheeled combat vehicle, way bigger and more armored than a Hummer, but not as heavy or treaded like a tank.  He worked as an M-240 machine gun operator, first as the guy hauling the ammo, then working up to the guy actually firing the thing.  Buzzell’s writing is solid; his two main influences are Bukowski and Hunter Thompson.  He only has some of the fluid poetry of Bukowski at his best, and it’s not the kind of rapid-fire manic energy Thompson wields, but fans of both authors would settle in well with his prose.  I think the unfortunate part of this blog-t0-book thing is that his earliest posts were not as polished or refined.  It seems like he just started to find his voice by the end of his time in Iraq.  So the additional stuff he wrote afterward, and any articles you find of his post-book are much more excellent in style and quality.  But the writing is solid enough, and it reads fast, so I appreciated that.

The politics of the book are mixed.  In some ways, it seems like Buzzell would be the typical W-following line-toter.  In other ways, you’d think he was some Berkeley radical anarchist more interested in throwing the system.  It’s hard to tell where his loyalties lie, and I have no problem with that, because I’m the same way.  I think if you adhere to the far left, you’re going to have problems reading this, hearing about shooting people and the implied cultural insensitivity here, like Buzzell’s insistence on using the term hajii to refer to any Iraqi people, which some would consider derogatory.  It’s probably a bit too war-porn for the die-hard Nancy Pelosi fan.  On the other hand, it probably contains way too many f-bombs for those of you who read the bible six times an hour.  (That’s a constant complaint in other reviews, and I honestly don’t give a fuck if he uses the word or not.)

Probably the one criticism I had about the book was that in places, the writing just showed us things, and it didn’t tell us about it.  I mean, it seems like, as an Amazon reviewer put it, he started with 50 pages of blog posts and pushed it out to a 350-page book.  And that’s fine, but there were times when he could have told us more about how he felt, or how things really looked.  Like, in the epic firefight scene that’s the keystone to the whole book, there are monumental things described with a single sentence.  Like, “The Pepsi bottling plant across the street was all up in flames.”  That’s it.  You could write at least a paragraph if not ten about the surreal situation of growing up drinking soda and then having that childhood image of the Pepsi logo transplanted to this giant factory in flames, the sounds of the timbers crumbling, the glow of the glass and plastic melting en masse… whatever.  He did a good job of documenting what happened, but didn’t cover as much how those things made him feel.

And maybe that’s deliberate.  I mean, the picture he paints is that he’s this tattoo-covered, party lovin’ dude that uses blackout drinking as a stock response to almost anything, suddenly thrust into war.  Maybe having feelings about the action goes against this tough warrior persona.  And maybe that’s why people identify with it.  I mean, nobody asks Chuck Norris how he feels about punching a guy in the throat, and more than a few people love them some Chuck Norris.  But I look back to some of the military memoirs or creative nonfiction that I like - for example, Tim O’Brien - and they add this third dimension, which makes you feel more like you can relate to the tension and drama.  Maybe he hasn’t had time to contemplate what went on. O’Brien wrote his books years after returning from the shit, and he had the distance; he wasn’t liveblogging the Vietnam War as it happened.  That’s why I’m curious about Buzzell’s act two, what comes after this book.

And yeah, full disclosure: I published John Sheppard’s verisimilitude work, Tales of the Peacetime Army, which I liked a lot more for the depth of the writing, although it wasn’t about the war of the moment, which is probably why it didn’t sell.  (I’m not trying to snake-oil you into buying a copy - go read it for free at the above link if you want.)  John also wrote the most excellent In Between Days, a novel about returning from Iraq and dealing with PTSD and the bleakness of America these days, which I keep saying is one of the best books I’ve read in a long time.  But it also didn’t sell.  (Maybe John needs to get some tattoos and do some blackout drinking.)

All in all, this is a decent and quick read, although it made me have more questions than answers when I finished.  If you never read the blog, and you’re into reading military history, it’s worth a look.  It’s a good book.  Not great, but good.

In 2003, I made a list of every book I read that year. I haven’t done this since for a few reasons, although laziness is the biggest one.  Also, I don’t read as much as I should, and these lists are never accurate.  It’s like every top-100 record list by rock snobs that have Captain Beefheart on the list.  I can guarantee you that far more people listen to Boston’s first album than Don Von’s, and but people put him on the list because they want to look superior or act like they have a refined taste.  (For the record, I am listening to “More Than a Feeling” on repeat as I write this, something I do for hours at a time, until I decide to switch to “Don’t Fear the Reaper” or “Freebird”, or the Oakland SWAT team knocks my front door off the hinges because my neighbors have phoned in a potential Waco standoff, because there’s no other possible reason for someone to listen to side 1/track 1 of Boston - Boston 483 times in a row.)

Okay, so here is a partial list of the books I read in 2010 that you should read but probably won’t, because this post itself just broke the 200 word mark, and that’s way too long for anyone not on near-lethal amounts of ADHD medication.  Oh, in no particular order.

• Loner: Stories by John Sheppard - This is a story collection by my pal John Sheppard that contains three stories previously released in Air in the Paragraph Line, plus a story entitled “Loner” that completely blew me away.  John’s an incredibly underrated writer and the book is worth it for this one story.
• Meat Won’t Pay My Light Bill by Kurt Eisenlohr - Kurt is better known in these parts as the artist who painted the AITPL 13 cover, but he’s also an awesome writer.  This is a very Bukowskian novel about a punk named Lupus who wants to quit working and spend his time painting, and all hell breaks loose.  If you liked Post Office, this book is totally up your alley.
• There Are a Million Stories in the Naked City by Fiona Helmsley - This is a cool-sized pocket book that consists of 120 pages of creative non-fiction stories about Fiona’s days world of punks and strippers and heroin and a dirty, pre-Giuliani New York City.
• Awkward 1 - I first met Awkward Press editor Jeffrey Dinsmore during my brief stint in LA in 2008, which was right before he got Awkward up and running.  They’ve since done a more substantial second issue in 2010, which tells you something about my reading backlog.  This episode has five short stories about awkward occurrences, all of them great.  Each one is pretty innovate in how the story unspools, like Honor Rovai’s “Housesitting”, which starts off as a letter to a housesitter that quickly morphs into a crime confession.
• The American Book of the Dead by Henry Baum - A high-concept thriller about the end of the world as brought on by a far-right conspiracy by religious fundies in a Cheney-type style.  It’s a good plot that would (or will?) make a great movie, but is also noteworthy in that it was self-published and isn’t just another SKU number regurgitated from the entertainment-industrial complex.
• Air in the Paragraph Line #13 - I know I published it, and I wrote two of the stories, but I also read a metric fuck-ton of stories before selecting these, and I re-read everything here a million times during the production of the issue.  Todd Taylor’s “Banjo Alien Zen” is one of my favorites in here, as is Rebel Star Hobson’s piece about the insanity of working in a redneck-infested convenience store.

I didn’t buy as much this year because I re-read a lot of old books.  I moved, and in the process of moving, I tried to tightly prune my collection and dump books that had followed me across the country multiple times that I should have read but didn’t.  Also, I tried to nail down what I was supposed to be writing, or what I wanted to write, and a lot of that involved re-reading books important to me.  Here’s a partial list of what I re-read, all books worthy of purchase, if you’ve got that Amazon gift card from xmas burning a hole in your pocket:

• Fear and Loathing in Las Vegas by Hunter S. Thompson - A panic Kindle purchase when I realized I was on the way to the airport for a cross-country flight and had nothing to read.  I practically inhaled this on the plane ride home, and it was just as good as the first half-dozen times I read it.
• The Risk Pool by Richard Russo - This is pretty much becoming an annual read.  Nobody paints a picture like this guy.
• The Man in the High Castle by Philip K. Dick - Alternate reality we-lost-to-the-Nazis fiction at its finest, especially since all alternate reality fiction currently written is some right-wing wonk trying to get across some point about how paving roads is socialism.
• The Fuck-Up by Arthur Nersesian - One of my favorite books about New York, even if there is a geographical goof about every five pages.

So what should I be reading in 2011?

It’s winter, sort of. The temperature has been consistently under 60 for about a week, aside from a weird day where it was 70. The 50-ish temps mean I switch coats to my leather jacket, which is always exciting to me, for like a day. I’ve written about this before, but I’m too lazy to look up the old posts. It’s always interesting to me, because after months of no jacket or a light jacket, the leather jacket feels like home to me. It’s so heavy, it feels like putting on armor. And the smell of the leather always brings back the memories of all these other points in my history, back to when I first bought my first leather jacket in 1993. (I’m now on my third.) So I like that, but in a few weeks, I’m going to wish I could trade the thing in for one of those Arctic parka things.

It’s really odd that New York has the most people wearing black leather motorcycle jackets compared to anywhere else I’ve lived, but I’m also given the most unending shit about my jacket, especially from people I work with. If you think it’s odd that a person would wear a black leather jacket, you’ve spent too long in the fucking Hamptons. Seriously, check out the other 40-some states some time. And yesterday, I was at a health food store (believe it or not, I take a shitload of vitamins and supplements these days, for fear that my immune system will slow down more and I will be exposed to all of the viruses and parasites in this city) and I completely forgot that I was wearing the hide of a dead cow in a place full of level 7 vegans.

And it’s weird that I even give a shit about that, and I think that the fact that I do is one of my biggest weaknesses as a human, because I care far too much what people think of me or my writing, and almost none of those people really give a shit about me at all. Like I spend a lot of time trying to contact authors of books I have read and enjoyed because I think that they would care about the opinion of a reader, and almost 99% of the time, they don’t even answer their mail. And I do that because I would hope someday that people would write me letting me know if they enjoyed my books, and that also seldom happens. There are times I believe in karma, mostly when a bunch of bad shit happens to me in one day, and I’m convinced that it’s all because I cheated on a precalculus test in 1989 or something. But then I think about the above construct, and realize that karma can probably be safely shelved away with all of the other religious theories in which I don’t believe.

I read a Jonathan Ames memoir called What’s Not To Love?, which was pretty hilarious and also made me think that maybe someday I’d like to write a straight-up memoir (as opposed to the Summer Rain-type autobiographical fiction thing.) And then we went to see the movie Running with Scissors last night, and that 90% unconvinced me. The movie was not bad, but it wasn’t really that funny to me. There were a couple of good lines, but all of them were in the trailer. It was an interesting movie, and some of the acting was great, but it just didn’t blow me away or anything.

This convinces me that I really don’t get the entire memoir genre that’s so popular, with Augustin Burroughs and David Sedaris and so on. I’ve tried to read their books, and they sort of drone on to me like a shopping list, but whenever I see a video or hear a reading of them, people laugh at all of these points that are supposed to be funny, and I don’t get it. I mean, the funny parts are amusing, and some might make me chuckle, but it’s not ha-ha funny to me. I’m sure it’s some sort of demographics thing, like the same reason that I find almost all of NPR completely unlistenable, but tons of intellectual types enjoy it 24/7. And the flipside is true - I don’t think it’s technically possible to be a fan of both this memoir genre and, say, Andrew Dice Clay. I absolutely fucking loved Fear and Loathing in Las Vegas, but I know a lot of people who thought it was about as compelling as films of botched colon surgery.

And I don’t give a shit in the sense that I bear no hostility towards that genre, and I can keep reading my stuff and ignoring their stuff, just like I do with country music, Harry Potter, the Lord of the Rings films, and whatever Disney/Pixar animated film of the month has talking fish, toys, cars, or whatever. But the problem to me is that I really do want to write a memoir in some sense, and just by picking that type of document, I’m instantly compared to these writers. And I simply don’t know how to write stuff that would appeal to that audience. I seriously think it would be easier for me to lay down a dance single in a studio, or maybe paint a modern art masterpiece than it would be for me to pen a memoir that was compatible with those standards in any way.

There’s also the issue that I’ve never been beaten, in rehab, on the streets, or sold to my mother’s shrink. I grew up in a tri-level house in a sea of tri-level and ranch houses, all with identical aluminum siding. There’s a part of me that thinks that because I haven’t lived a really out-there life, I couldn’t write a book about my life that would be interesting. But another part of me thinks it’s not the events, but how you frame them and write about them that makes it interesting. So who knows.

The zine is almost done, sort of. I have enough submissions to equal 170 pages, which was the length of #10. I have a few pending submissions that will maybe bring it up to 200. The cover’s not done or even thought about (I have the idea, just haven’t done it yet) but each story is already laid out in FrameMaker, so I don’t have a huge project ahead of me. I got a couple of last-second stories that were absolute fucking genius, so I’m happy with what’s going into this one. I am still nervous that I’m going to have to mail out more free copies than I will actually sell, and that’s a pretty legitimate fear, since it always happens. I want it to sell a lot of copies, and not because I make like 34 cents a copy, but because I want a lot of people to read some of the good stuff in it. And I want all of the authors in it to get some more exposure. My hope has always been that Y number of writers comes to the zine with their own audience of size X (the people who buy their shit no matter what), and so Y times X buys the thing, but some of the fans of one writer say “hey, that other writer is pretty cool too” and they go out and buy their books or read their web site or whatever. Last time, a couple of people posted links to the zine on their blog, and one person actually went out and pasted the press release into a jillion discussion boards and web sites. But yeah, not as much synergy as I’d hoped for. We’ll see how it goes this time.

(I’ve vaguely thought about writing a press release for the zine, mentioning that this guy used to write for my last zine, just so it shows in a million web searches. I’ve wasted a ton of time talking to the press about the guy, which converted to about zero book sales. If some idiot can get a book deal because they’re a 17-year-old blogger from Harvard, it seems like the distant zine buddy of the FBI’s most wanted might at least get me a column in Salon. But, I know I mentioned above that I didn’t believe in karma, but I think trying to huckster the terrorism angle would probably be a bad idea in general.)

I’m leaving for Berlin on Saturday. I have not done a single bit of preparation. Sarah picked out a bunch of restaurants. I bought a book, but read like a page of it. Time to get busy on that, although I’m now reading a bio of a Vietnam helicopter pilot, which is a bit more interesting…