The Explanation Is There Isn't One

 

My early morning walks—when I rarely see another person or sometimes not even hear a passing car, and deliberately avoid podcasts or music—make me unusually aware of each moment and every subtle change along my familiar two-mile round trip route. Recently, a raccoon lurking in the shadows startled me. (I've encountered bobcats before, which is considerably more startling.) Those wildlife sightings have led me to adopt perhaps the least intimidating defense ever devised: carrying a golf ball in my pocket.

 

My strategy is simple. If confronted by an aggressive animal, I hope to throw a golf ball hard enough at it to at least startle it, clap my hands like a deranged scarecrow, and, if necessary, sing God Bless America as loudly and as off-key as possible. Surely even a determined bobcat would conclude there are easier breakfasts elsewhere. Fortunately, the plan has yet to be tested.

 

Our community also warns residents about alligators in the ponds. As I walk along the golf course, I'm always aware of where those bodies of water are and how far I might have to run should a gator decide to give chase. Since they are said to reach speeds approaching 35 miles per hour over short distances, I comfort myself by deciding that the odds are overwhelmingly in my favor as I will be nearby homes and boldly step outside each morning around six.

 

Only a month ago, during the summer solstice, dawn had already broken when I left the house. Day by day the light has quietly retreated, and now, only weeks later, it is nearly dark when I begin my walk. If the laughably named "Sunshine Protection Act" (who dreams up these titles—AI?) ever becomes law, Florida schoolchildren may find themselves standing at bus stops in darkness, vulnerable to drivers who can't see, well before sunrise. As for me, I suppose I'll become even more attractive to raccoons and alligators, creatures that also seem to appreciate the hours before dawn. Apparently that's a small price to pay if it means the President can squeeze in another few holes of golf before sunset.

 

Some "sunshine protection."

 

Meanwhile, smoke from wildfires periodically settles over parts of Florida. And no, Canada isn't to blame for failing to rake its leaves in our case. We have our own climate-induced problems. Recently, a stretch of the Florida Turnpike south of here had to close because of wildfires. I haven't yet heard that the other forty-nine states intend to impose a 50 percent tariff on Florida goods as punishment.

 

These are the sorts of thoughts that accompany my morning walks. They also accompany the writing of this blog. There is always something to think about, something to observe, and something to puzzle over. Whether any of it ultimately matters is another question entirely. I write for much the same reason I play the piano every day. At this stage of life, I find my inner life more satisfying than the traveling, boating, and busy social calendar that once seemed indispensable.

 

During those early "go-go years"of retirement, I somehow found time to write even more frequently than I do now. Perhaps that reflected greater energy, or perhaps simply a different rhythm of life. Now, in what retirement experts cheerfully call the "slow-go years," solitary pursuits seem increasingly appropriate and reading whenever my mind can still settle into a novel. Ann, fortunately, remains a voracious reader, perhaps because fiction offers a welcome refuge from today's world.  We are trying to dance as fast as we can as we gradually approach the "no-go years," although I hope they remain comfortably in the distance.

 

Artificial intelligence has added another layer to these reflections. I'm fascinated not only by what it can do for me but also by what it may be taking from me. After nearly twenty years of writing this blog, I've accumulated what amounts to a substantial archive. Much of it concerns family history and personal opinions that probably interest very few people but some of my theater and book reviews are widely read.

 

Out of curiosity, I asked one AI system about a subject I knew was covered exclusively in my blog. Sure enough, it produced an answer largely drawn from what I had written years ago. Older posts are actually more likely to appear because Google once indexed independent blogs far more generously than it does today.

 

I pointed out that I recognized the material because, in essence, I had written it. As obsequious as these systems can sometimes be, it immediately congratulated me on being the author of the "venerable Lacunae Musing." Taking the bait, I mentioned that over twenty years I had probably written close to a million words. The AI replied that I was "a human large language model." Mutual admiration can become exhausting, so we politely ended the conversation.

 

For complete disclosure, I should add that an AI agent has reviewed this very essay for logical development and copy editing. The observations, opinions, and tone, remain entirely my own.

 

As I edge toward those "no-go years," I've begun thinking seriously about moving this blog to the Substack platform. I admire many of the writers there and already subscribe to several, but the technical aspects of migrating the content is yet another challenge to address.

 

One Substack author who particularly caught my attention is Tim Kreider, who amusingly describes himself as "a writer, cartoonist, and person in the world." Beginning as a political cartoonist seems almost ideal preparation for becoming a political essayist. Cartoonists have long understood that the quickest route to truth often runs through absurdity.

 

That brings me to Kreider's recent Substack essay, The Arbogast Fallacy: An Alternative Explanation for "Sanewashing."

I've argued before that Donald Trump's political mind is almost reptilian — reactive rather than reflective, impulse driven rather than deliberation. Kreider reaches much the same conclusion, but develops it with such clarity that I found myself nodding almost continuously as I read it.

 

The essence of "The Arbogast Fallacy" (its title drawn as a clever metaphor from the film Psycho) is that journalists and political commentators consistently overanalyze a man who requires very little analysis. Trained to search for elaborate strategies, ideological consistency, or hidden motives, they assume complexity where none exists. His behavior is more accurately explained by immediate impulses:  demanding attention, making as much money as possible in his position, and guaranteeing his self-preservation. As Kreider memorably observes, commentators keep "writing think pieces about a guy who doesn't." 

 

That simple observation explains far more than countless hours of televised political analysis. Every action and reaction seems ultimately directed toward those same goals, with self-preservation perhaps becoming the dominant one as the midterm elections approach.

 

Kreider persuaded me that perhaps the explanation isn't hidden at all. We keep assuming there must be some elaborate strategy because that's how we expect consequential leaders to behave. We search for depth because the consequences are so profound. But perhaps there are no hidden chambers to explore—only instinct, ego, and self-preservation played out on the largest political stage imaginable.

 

What remains unexplained isn't the man. It is us. How did a political culture, a Congress, and a Supreme Court entrusted with preserving constitutional government become so willing to normalize perpetual chaos?

 

Tomorrow morning I'll head out again with my golf ball in my pocket, keeping one eye on the raccoons and the other on the gathering darkness. Those are hazards I understand.

 

It's the human world that has become so difficult to explain.  Perhaps that is because the explanation is there isn't one.

Mike Luckovich Art of the Steal

A Published Memoir Makes the Dream Real

 

Yes, I’ve gone and done it—I’ve published a memoir: Explaining It: A Life Between the Lines. One can find all the relevant information on Amazon

 Quick summary: paperback, 6x9 inches, 420 pages, 97 illustrations, $19.95.

 A word (okay, maybe more than one) about the title and subtitle. This completes what I informally call the “Explaining It” trilogy—though no cataloger will find such a bibliographic designation in the Library of Congress where all three of my books now reside. The first two volumes are:

 - Waiting for Someone to Explain It: The Rise of Contempt and Decline of Sense (2019) – a political meditation born of frustration and disillusionment.

- Explaining It to Someone: Learning from the Arts (2020) – a love letter to literature, music, and theater.

 This third installment, the memoir, turns the gaze more inward. I’ve always been a planner, someone who tries—despite the universe’s best camouflaging effort —to understand the forces that shape a life. The main title, Explaining It, reflects that tendency. The subtitle, A Life Between the Lines, is both a nod to my publishing career and an invitation to look beneath the surface—for the gaps and glimmers that define a life.

 The content outlines family history, much about my best friend and wife (Ann), the significant influence of mentors, the evolution of a professional life, and the adventures of boating, including living on a boat. It also explores my efforts as an octogenarian to navigate an increasingly unfamiliar world, finding solace in the arts.

 It even includes five short stories of mine. There was once a day when there were two distinct sections in a public library: fiction and non-fiction (including reference books): simple and direct.  We all knew what those terms meant. The Dewey Decimal System made it seem that life could easily be classified, organized, understood.   Now we live in a world where fiction masquerades as fact and fiction is becoming realized (especially if it is of dystopian nature). These short stories are not literal autobiography. But they carry the “redolence” of things I’ve seen, understood, or imagined and thus provide another dimension.

 Here’s the Table of Contents for the curious:

 

Now, let’s address the elephant in the bookshop: why write a memoir—and moreover, why publish it?

To the first question: if 90% of success is just showing up (thanks, Woody Allen), then perhaps writing a memoir is just what happens if you live long enough and still like putting metaphoric pen to paper. I quoted James Salter in my last book and again in this memoir: “There comes a time when you realize that everything is a dream and only those things preserved in writing have any possibility of being real.”

So yes, I believe in writing things down. It's a form of accountability. It can give life to distant memories.

Memoir is not just a collection of dates and facts. It’s storytelling—sometimes exactly as remembered, often shaped by time, bias, or selective memory (sometimes mercifully so). Editing this book, I kept asking: why did I include that, and not this? Why that photo, and not another? The selection process was often, in a word (or two), serendipitous or even capricious, not unlike many decisions during one’s lifetime.

As to the second question—why publish it? I’m not under the illusion that there will be many sales.  I’m not “pushing” the book, no speaking engagements.  No signings at bookstores.  I'm not a household name and have never aspired to the status of “influencer.” (Who would have thought such a profession could exist?).  Friends and family will be curious and will no doubt comprise the main market.  Nonetheless, to me, not publishing this would be an “incomplete” grade from the University of Life.  After all, my profession was publishing and not to formally publish this would feel like leaving a job unfinished.

A few months from now a Kindle e-book edition will be available at a lower price for those now allergic to the printed book (or to the impact of inflation on the costs of creating a physical book).

From another publisher’s memoir, Robert Gottlieb’s The Avid Reader: “I attempt not to think about death, but there’s no avoiding the fact that we are all the pre-dead.” A cheerfully sobering phrase. Like Gottlieb, I try to stay forward-looking, doing the things I love with the people who matter. That’s the real subject of this memoir: not endings, but continuities.

After Explaining It To Someone: Learning from the Arts was published five years ago I wrote: “This might be the last book I write or the penultimate one, as I am thinking more about fiction and memoir perhaps in a couple of years if time and health are good to me…”

Well, here it is. Three years late, perhaps, but better that than never. Last or penultimate? Time will tell.

 

‘From now on, all my friends are gonna be strangers’

 

Many of mine are already strangers, be it due to modern-day nomadism, rising political contrariety, or the inexorable consequences of time.

 

Larry McMurtry wrote All My Friends Are Going to be Strangers (1972) when he was about 35, only a few years older than I was at the time. I haven’t read much Western Literature, although I’ve enjoyed the works of writers such as Wallace Stegner, Phillip Meyer, Jim Harrison, Thomas McGuane, who have set some of their stories there.  But when one thinks of old west fiction, writers such as Louis L'Amour, Larry McMurtry, and Zane Grey spring to mind.  Being a northeast kind of guy, my taste in literature does not go there.  My loss I suppose, but the alternative use of time justifies (in my mind) an excusable indifference.

 

Nonetheless when somewhere or someone – don’t remember who or where – recommended this McMurtry novel as a work to get to know him as a writer, not necessarily as a western writer, I put it on my list and when it arrived thought it would be the perfect book to take on our recent cruise.

 

I fondly remember Peter Bogdanovich’s The Last Picture Show for which McMurtry wrote the screenplay based on his novel, it being filmed in his old home town. Between that and the title of the book itself, probably based on Merle Haggard’s - "(My Friends Are Gonna Be) Strangers” I was prepared to enjoy this book. After all, friends, old lovers, peel away as one ages, and at a certain point one is flying solo. 

 

All My Friends Are Going to be Strangers displays McMurtry’s gift of dialogue and self-deprecation (or at least resignation to circumstance), comically capturing what makes people uniquely weird and wonderful, full of fathomless eccentricities.  All of this is seen through the eyes of Danny Deck, a writer in his early twenties whose peripatetic life makes up a solid Bildungsroman of a young writer’s journey and how life gets in the way of art.  I jealously admired Danny’s ability to take advantage of youth without caring about consequences. It is about the ride, not the destination. 

 

Danny goes through a marriage, other women, friends, enemies, beatings but along the way has his first novel published (although he doesn’t think much of it), and he gets enough money for a film based on it to live on.  He’s flown to Hollywood to write the screenplay (naturally, he doesn’t have the foggiest idea of what to do, how to do it, carried along by fate).  He seems to be on a ramp to oblivion and we leave him with his second novel in manuscript form, drowning it (and maybe himself?) in the Rio Grande River.  Perhaps, it’s just one of the many rivers in Jim Harrison’s The River Swimmer

 

His writing is reminiscent of Kurt Vonnegut’s ironic, dark sense of humor.  Here Danny meets Leon, the Hollywood producer of the film to be made based on his novel in the backseat of Leon’s Bentley with Juney, Leon’s assistant/companion/enabler:

 

“Danny, I want you to know I think your novel’s great.” Leon said when we were shaking hands. He avoided my eye when he said it, and I avoided his. We almost looked at each other accidentally while we were avoiding each other’s eyes. I felt very embarrassed. I hadn’t gotten used to the fact that strangers out in the world had read my novel.

 

“I’m out here wasting my education,” Leon said a little later as we were purring out the Hollywood Freeway in the Bentley.

 

“I was brought up to believe that a gentleman does as little as possible with his education,” he said. “I think I’ve achieved pretty near the minimum. No one could expect me to do less than I’ve done.”

 

Juney looked at him tenderly and patted his hand. She was a motherly blonde. “Tough it out baby,” she said. Leon did not respond.

 

“Leon went to Harvard,” she said turning to me. “He operates from a very high level of taste. He really hates ostentation and affectation, but let’s face it in this industry you can’t escape it. You have to be ostentatious, you have to have affectations.  Leon actually has to affect affectations. It’s a sad thing. This Bentley is one of the affectations he’s affecting.  He doesn’t really want to drive a Bentley.”

 

Another of Leon’s affections is his pet twenty-two pound rat which he one bought for a science fiction movie he produced when it weighed five pounds less.

 

So I second the motion.  To get to know Larry McMurtry, the writer, this is the book.  You are sure to hear Merle Haggard singing…

 

From now on, all my friends are gonna be strangers

I'm all through ever trusting anyone

The only thing I can count on now is my fingers

I was a fool believing in you and now you are gone

Published!

A labor of love over many years Explaining It to Someone: Learning From the Arts has been published and is available from Amazon in paperback at $18.95.  For those more digitally inclined, there is also a $3.99 Kindle edition.

 

The book’s very detailed Table of Contents serves as an index to the hundreds of writers, playwrights, songwriters, musicians, and performances that are described or reviewed.

The book began with the writing of this blog itself.  As a publisher, I have always been interested in good writing and meaningful reading but never imagined that I would have the creative juices to write myself, in particular the freedom from self censorship.  A writer’s life is not private, even if writing only fiction.  This blog was a liberating factor as it offered a platform for the discipline needed to write. 

I was particularly influenced by a book I read long before, Brenda Ueland’s, If You Want to Write; A Book about Art, Independence and Spirit, first published in 1938.  She threw down the gauntlet for me: “At last I understood that writing was about this: an impulse to share with other people a feeling of truth that I myself had. Not to preach to them, but to give it to them if they cared to hear it. If they did not – fine. They did not need to listen. That was all right too…. You should work from now on until you die, with real love and imagination and intelligence, at your writing or whatever work it is that you care about. If you do that, out of the mountains that you write some mole hills will be published…. But if nothing is ever published at all and you never make a cent, just the same it will be good that you have worked.”

I emphasize the last few words as they encapsulate my life.  To me it was not good enough to be the passive recipient of the cultural advantages I had in my life.  I felt compelled to share them, analyze them, say what they meant to me, and convey my unabashed exhilaration.

What I cover in Explaining It to Someone is eclectic to be sure.  It’s easier in many ways to deal with the works of a single writer.  Most of the work is related by the tether of my life experiences.  And, this is what distinguishes it from other works of criticism; I often relate it to personal experiences and the times.  These are times we all share.

When I read James Salter’s All That Is several years ago, the seeds of my (now) two published books were planted.  I ruminated over Salter’s epigram from this, his final novel, written thirty years after his last published work:

There comes a time when you

realize that everything is a dream

and only those things preserved in writing

have any possibility of being real

This made such an impression on me that I adopted his epigram for Explaining It to Someone as well. Yes, I said to myself, it is all well and good that I write this blog, but as a publisher, with deep roots in print editions, the digital world seems ephemeral.  Not that I have illusions that by appearing in print my writings magically become long-lived.  But they were NOT a dream, they ARE real and it is GOOD that I have worked.  It seemed inevitable that this volume, in particular, find its way to print (although editing concessions were made, and a Kindle edition exists as well).  

 

Although it is a companion work to my previously published Waiting for Someone to Explain It: The Rise of Contempt and Decline of Sense, it stands on its own.   Waiting for Someone is all things political and economics, borne out of frustration and disillusion, while Explaining It to Someone was written with passion about the arts.

It is ironic that I have chosen the non-traditional publishing route.  I did not see the commercial prospects of successfully landing this with a trade publisher or even a small press.  And I did not want constraints as to length, organization and content.  The irony about using the Amazon publishing platform is at one time during my publishing days, I dealt with Jeff Bezos, the founder of Amazon when he was on his way up in the mid 1990’s (or perhaps I should say, up, up, and away!).

Little did I know that 25 years later they would become my publishing platform and Bezos the richest man in the world; unthinkable, and just over the last third of my life.

Using their platform and making your book professional requires either learning publishing software or hiring an intermediary to generate the two files that are necessary, one for on demand physical books and the other for the Kindle.  (Again, another irony not lost on me is a 1984 issue of Publishers’ Weekly carried an article on my vision for printing on demand).  I could learn the software, many people do, and if I was younger and wanted to spend precious time, that would have been my preferred route.  Instead I hired a company that specializes in the conversion process, BooknookBiz.  They have been very professional and I have a nice relationship with the owner, “Hitch.”  I enjoy our banter back and forth, her up to date digital knowledge vs. my circa 1960 -1970 production knowledge, the days when I was a “production guy.”

They initially estimated the present book would set out to 714 7 x 10” pages, way, way too large for me.  That’s when my antiquated production knowledge was brought to bear on the problem, resulting in an acceptable compromise, still a large book, 516 pages 6 x 9” and densely set, but readable. This relationship was reminiscent of the time when I handled printing and binding vendors, mostly in Ann Arbor, Michigan.  Gone, gone are those days, but the memory lingers on.

The manuscript for this book went through three different editing passes before it was even submitted for conversion, and a major organizational effort (many thanks to my wife, Ann for her enduring help and insight).  In some respects it has the characteristics of a reference book because of the detailed table of contents. The more challenging post conversion issues were with the Kindle edition’s content page hyperlinks “landing” on the right spot in the 245,000 word text.

This might be the last book I write or the penultimate one, as I am thinking more about fiction and memoir perhaps in a couple of years if time and health are good to me, problematic given age and the pandemic, the latter being the stuff of dystopian science fiction only a few months ago. 

What I have to say in this book will be the formative foundation of any I might tackle in the future.  Indeed, most of the writers and musical artists I cover in Explaining It to Someone; Learning From the Arts are my teachers and I am their grateful and humble student.