Welcome to Machine: Why ‘Dead Man’ is Jim Jarmusch’s Masterpiece
Sean MurphyJohnny Depp is going to be gone someday, and for those enjoying his work posthumously,...
How to Kill a Cliché: Celebrating Sam Shepard (One Year Later)
Lee: …That’s stupid. That’s one a’ those?—whadya’ call it? Whadya’ call that? Austin: What? Lee:...
The Catcher in the Rye, 67 Years On
She nodded. “Make it extraordinarily squalid and moving,” she suggested. “Are you at all acquainted...
My First Time, Revisited
July, 2015: It was my great pleasure to guest-post at The Quivering Pen, a fantastic...
Rebel’s Rebel: RIP Anthony Bourdain
I’m gutted, like seemingly everyone else in the world (for all the right and obvious...
VCLA in the Fairfax County Times
I’m very grateful for the growing excitement around Virginia Center for Literary Arts. This week,...
Original Fiction: Later, That Same Morning
Gratitude to Dash Journal, published by California State University, Fullerton (CSUF), for publishing my (very)...
The Glorious Redemption of the Great Eight
5/24/18: 20 years ago was fun, if a bit of a fluke, courtesy of some...
Philip Roth, our Priapic Piñata, is now Immortal
“Making fake biography, false history, concocting a half-imaginary existence out of the actual drama of...
The Moon is Glued to a Picture of Heaven: Ten Thoughts on Chris Cornell (Revisited)
In Bull Durham, the cranky and overachieving Crash Davis, at once in awe and envious,...