Books

Sweetest taboo

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PREVIEW The taboo has always had a special place in my heart. As a pre-adolescent, I was given a list of banned books from a rogue librarian and I hunted down and read every one of them. It may have seemed odd to find an 11-year-old black boy reading the likes of John Rechy’s City of Night (Grove, 1963) and William Burroughs’ Naked Lunch (Olympia/Grove, 1959), but these verboten tomes, along with the librarian’s free beer and porn, served as an illicit gateway out of my little coal-mining town into the larger, lustier world. If not for the innocence-stealing pederast posing as the coolest adult I knew, I might still be in that town, feeling like I was missing something but never knowing what. In short, banned books saved my life: I never would have read a single one had they not been banned.

That’s why it’s exciting, even titilutf8g, that the San Francisco Center for the Book, in collaboration with the African American Museum and Library in Oakland, presents "Banned and Recovered: Artists Respond to Censorship." The 63 installation, multimedia, and graphic artists showcased at the two sites don’t so much address the issue of banned books as celebrate their favorites, which happened to have been banned somewhere at one time or another — and what great book hasn’t? Among those praising the forbidden at the Center for the Book are Enrique Chagoya, who offers a 2000 diptych to Burroughs, and ex–Black Panther propagandist Emory Douglas, who brings Toni Morrison’s The Bluest Eye (Holt, Rinehart and Winston, 1970) to light.

BANNED AND RECOVERED: ARTISTS RESPOND TO CENSORSHIP Through Nov. 26. Mon.–Fri., 10 a.m.–5 p.m. San Francisco Center for the Book, 300 De Haro, SF. (415) 565-0545, www.sfcb.org. Also Sept. 5–Dec. 31. Tues.–Sat., noon–5:30 p.m. Reception Sept. 5, 6:30 p.m. African American Museum and Library at Oakland, 659 14th St., Oakl. (510) 637-0200, www.oaklandlibrary.org/AAMLO

Critical sass

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ISBN REAL This month, a collection of Daniel Mendelsohn’s essays on books, plays, and films is being published. How Beautiful It Is And How Easily It Can Be Broken (Harper, 480 pages, $26.95) is excellent. But it lacks something I can’t help wanting from the criticism I read, no matter how often some denunciation tries to shame the desire out of me. One of Mendelsohn’s pieces even takes novelist and literary critic Dale Peck’s 2005 review collection, Hatchet Jobs (New Press, 240 pages, $14.95) to task for indulging in the very thing I look for: bitchiness.

According to Mendelsohn, Peck’s analysis of any book cedes too much space to his caustic persona. Mendelsohn suspects that "what’s really going on here isn’t so much criticism as a kind of performance."

This is a common complaint. As standard as it’s become for critics to coat their reviews in personality, extravagantly painting their territory with barbed humor and a couple catalogs’ worth of references, there’s no scarcity of resistance to that practice, either. Just last week, on Mark Sarvas’ blog The Elegant Variation (www.marksarvas.blogs.com), writer Benjamin Percy expanded on Sarvas’ disgust over an excessively autobiographical review of Julia Reed’s memoir, The House on First Street (Ecco, 208 pages, $23.95) in the Aug. 3 The New York Times Book Review. Percy suggested a causal connection between the swell of infantile pop punditry on cable news channels and "those critics who spotlight their voice, their life, upstaging the assigned book."

Within How Beautiful It Is, Mendelsohn quotes Peck’s response to the controversy surrounding his critical flaying of Rick Moody a few years ago. Here we-go-’round-the criticism-bush: in turn, Peck’s quote mentions Heidi Julavits’ highly-regarded piece about the future of literary culture from the March 2003 maiden issue of The Believer. There, Julavits appeals to book critics to cool it already with the self-serving wisecracks. In fact, she mentions Mendelsohn as an exemplar of considered evaluation free from the static of the vitriol that’s come into fashion.

Julavits’ major beef was with the sadism of the bitchy critic, and in large part, that’s the same problem Mendelsohn has with Peck’s reviews. I have a lot of inner ethical debates queued up before I ever address, let alone endorse, the matter of the clever takedown. What I am willing to dispute right here, right now, is the puzzling belief that caustic criticism is not just ethically but also artistically deficient.

It’s one thing to frown upon a mean-spirited performance that gets away from the reviewed work as well as the rhythm of its own structure. I could even grudgingly comprehend were a canonical critic like Dorothy Parker called out for wandering too far into the realm of bilious stand-up comedy. (So much for wicked stand-up criticism as only a current trend). Regarding Peck, Mendelsohn is not wrong to point out the ungainliness of his grabs at attention. I can appreciate the argument that one’s limited reserve of creative energy should be spent in the service of creation and not destruction, particularly in the assessment of writers who don’t deserve the baroque angst their crappy books inspire.

But is there really no understanding that the affected horror of the cranky critic is a ritualized template for evaluation, and one that is as valid — when done well — as any other? If there isn’t, we’re all in trouble.

Stretch your hole and your mind will follow: Meet Stephen Boyer

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Intrepid reporter Justin Juul hits the streets each week for our Meet Your Neighbors series, interviewing the Bay Area folks you’d like to know most.

Stephen Boyer is an up-and-cumming writer/blogger/porn star. To hear about his sexcapades, stop into his next reading at Dog Eared Books on August 21st. And if want to read his blog or see him take a foot up the ass, just follow the links below.

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SFBG: The first time I ever met you was at a party in Oakland. You came out of nowhere, grabbed my girlfriend and I by the shoulders and said, “Oh my god you guys, I just got fucked behind the bar!” Is that how you normally introduce yourself to people?

Stephen Boyer: Ha! Actually, I think we met in Dolores Park. I remember because you and all your friends were trying to convince a pregnant girl to eat a pot brownie. I don’t really remember the Oakland party though, and I could have my dates jumbled. That’s pretty like me. But yeah, I am usually pretty up front with what’s happening in my life. It helps me feel better… that and writing.

SFBG: So what do you usually write about?

Boyer: The major topics I’m taking on right now are shit, piss, and lots of sex. I’m also doing my part to help define a fag/male movement in response to all the feminist bullshit I was forced to sit through in college. You know, because white men are sooooo privileged (sarcasm!).

SFBG: Is it always sex stuff, then?

Boyer: A lot of it is. But not everything. The sex part comes from being young and horny in a country with lots of inhibitions and secrets. Plus, sex sells.

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SFBG: What compels you to share that part of yourself with others?

Boyer: Well, I like stretching my brain as well as my asshole and I want to help others do the same. Basically, I really enjoy learning about other peoples’ fetishes and helping them enact their desires. I have a shit load of desire and I’ve spent the better part of the past five years working through it to learn about what turns me on. I’ve realized that learning about other peoples desires and stretching my preconceived notions about what is and isn’t sexy is my biggest turn on. Well, that and orgies. And to return to the question, I want to make money.

SFBG: What’s the craziest, dirtiest thing you’ve ever done?

One elephant case bumps another

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By Steven T. Jones
The big Ringling Bros. elephant abuse trial that I wrote about in the current issue of the Guardian has been delayed by two weeks — for a politically interesting reason.
Federal District Judge Emmet G. Sullivan, who is hearing the Ringling Bros. case, is also presiding over the political corruption trial of U.S. Sen. Ted Stevens (R-Alaska), who has asked for a speedy trial to try to clear his name before the fall election, when he will try to continue as the longest serving Republican in the U.S. Senate. To accommodate the Stevens trial, Sullivan moved the Ringling trial start from Oct. 7 to Oct. 20. Apparently he wants to dispose of one elephant case before dealing with the next.
Meanwhile, also in a Washington D.C. court, another big Ringling-related lawsuit is moving forward. Superior Court Judge Brook Hedge yesterday ruled on motions for summary judgment in the strange case of journalist Jan Pottker vs. Ringling owner Ken Feld, which involves allegations of using former CIA operatives to sabotage Pottker’s efforts to write about Feld. Judge Hedge granted motions removing National Press Books and other ancillary defendants from the case, but denied Feld’s motion and will apparently allow the nine-year-old case to move toward trial.
“The filings are voluminous, but the core facts relevant to the claims are set forth above and revolve around the admitted plan to divert plaintiff from authoring any more works on the circus,” the judge wrote in a 45-page opinion.
For more details, read my story.

Photo Issue Q&A: Jessica Rosen

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The cover image of this week’s Photo Issue comes from Jessica Rosen. While it reflects Rosen’s recent shift toward collage — which she also is using to create one-of-a-kind handbags and books — it only represents one facet of her work to date. Rosen’s website presents sections devoted to some of her earlier projects. Her vivid portraiture is defined by a striking use of color and shadow, and by a cooperative, perhaps even collaborative, bond with her subjects. I asked her about all of these things recently via email.

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From Jessica Rosen’s series “The Beach,” at www.jessicarosen.com

SFBG: Brazil is important to your photography to date. How did this come to be?
Jessica Rosen: To some degree, the location of my images is incidental. For about three years I was living between New York City and Rio de Janeiro. New York became my day job and Rio became my studio. Working in Brazil was simply a process that functioned really well for me.
Many of my photographs are rooted in a very specifically Brazilian setting, but I feel like I was exploring the same ideas that I had always been interested in. I was thinking a lot about cultural constructs of gender and sexuality and how those play out in the formation of subjective identity. I was also really interested in sex workers because I feel that this work becomes a very literal performance of sexual and gender stereotypes. And more importantly, the specificities of this performance are a reflection of more general cultural systems.
It’s not that those ideas could be exemplified only using Brazilian subjects. I mean, I could have been working with American sex workers and created different images that would have addressed the same ideas. In fact I have done projects of this nature in New York City. But Brazil was a great place to explore my interests.

Shoot from the hip

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› kimberly@sfbg.com

SONIC REDUCER Def Leppard and Nickelback: you know I want my fantasy, and everyone is aware of how those cool, desirable, shocking, or subversive photographs are integral to fanning the flames of so many rock ‘n’ roll clowns’ dreamscapes. But it’s those moments when a picture delivers more than words that have inspired some to pick up a camera and keep shooting. Local noise-punk photog Lars Knudson can verify this, concerning one Arab on Radar show at Bottom of the Hill back at the turn of the millennium. "I saw this band Pink and Brown, and this audience of people who were absolute freaks, ultra-nerd ‘tards, hipsters, scenesters, or whatever you want to call it, and I felt so alive and so at home," Knudson recalls today from his work as a chef in San Carlos. "I tried to describe it to everyone I worked with, and they looked at me like, ‘Huh?’ Then I stumbled on these images that were taken by Virgil Porter [Burn My Eye] and showed them to people, and they said, ‘ooh!’"

As SF photographer Peter Ellenby [Every Day Is Saturday (Chronicle)] testifies, Jim Marshall put the Bay on the map for music photography and shooters like Jay Blakesberg have kept it there. But what about the newbs — armed with the latest digi point-and-shoot and inspired, à la Knudson, to begin capturing a fragment of the sound and the fury? Around the same instant everyone began to believe they could be a DJ, so too did all and sundry start to assume that they could also be an ace lens swinger.


John Vanderslice: Photo by Peter Ellenby

So how does one carve out a name as a music photog when the glut of images on Flickr and assorted photoblogs threatens to overwhelm? I gathered snippets of sage advice from a few area rock photogs: Knudson, Ellenby, and Debra Zeller, who honed her craft focusing on local indie combos via her Playing in Fog online project and concert series, has since expanded into professional wedding photography (originally shooting the nuptials of the Red Thread’s Jason Lakis), and currently books live music at the Make-Out Room.

Be a music lover, foremost. "That’s why I did photography part-time for so long — it’s really hard to make a living in music photography," says Zeller (www.playinginfog.com, www.dazrocks.com), who has shot Cat Power, among others, at the behest of their labels. "What magazines pay is absolutely ridiculous and getting the work is another challenge." Additionally, Knudson says, "Part of the reason I have good photos is I know when they’re going to rock out. If you’re not prepared to get lost in the moment, you should go home and be an artist, because it isn’t about you and what you got that night, it’s really about what the band did onstage that night." In the spirit of shareware and the scene he has documented, Knudson makes thousands of his images freely available to bands — and really anyone — on a not-for-profit basis at www.pbase.com/pistolswing.

Show everyone your work. "I showed my photos to as many people as possible," says Ellenby (www.ellenby.com), who photo-edited zines like Snackcake and Devil in the Woods. "All the bands and my friends knew I was for hire, and you have to not be afraid to be take criticism and set goals. When I was starting out my favorite band was Overwhelming Colorfast, and my goal was to shoot them, and Bob Reed would rip on them all the time."


Elliott Smith: Photo by Debra Zeller

Know the craft, natch. "I think it’s important to shoot in manual and really know how to work your camera," Zeller insists. "That’s how you get the images. If you just rely on program mode, chances are you’ll be lucky to get a couple of good shots."

"Don’t be afraid to work for a six-pack," advises Ellenby, who cofounded tech company GeoVector and is currently working on a Joe Strummer photo project. "Don’t think it’s your road to riches, either — especially if you like indie music. I would make more money if I wanted to, but I don’t like working for a giant music corporation. I like it better when I’m working one-on-one for a band — when you’re hired by a band you can let the creativity flow."

"My only other piece of advice is, shut up and push the button," Knudson says. "When you’re shooting live bands, you’re going to miss the shot if you’re busy telling your friend how cool you are."

I CAN GO FOR THAT

SON AMBULANCE


Dulcet Midwestern pop-smiths take on Someone Else’s Déjà Vu (Saddle Creek). Wed/6, 9 p.m., $8. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

FUTURE BLONDES AND C.L.A.W.S.


Malevolent Houston beats call up the ground-control SF bass-meister. With Skozey Fetisch. Thurs/7, 9 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

ME FIRST AND THE GIMME GIMMES


Punk supergroupers grope classic hits anew with Have Another Ball! (Fat Wreck Chords). Sat/9–Sun/10, 8 p.m. $15. Parkside, 1600 17th St., SF. www.theeparkside.com

PROJEKT REVOLUTION


A revolution in rock-hip-hop pairings begins with Linkin Park, Chris Cornell, Bravery, Ashes Divide, Busta Rhymes, Hawthorne Heights, and Street Drum Corps. Sat/9, 2 p.m., $34–$77. Shoreline Amphitheatre, 1 Amphitheatre Parkway, Mountain View. www.ticketmaster.com

DARYL HALL AND JOHN OATES


Private eyes, they’re watching you, watching you, watching you-o-o-o-o-o. Tues/12, 7:30 p.m., $49.50–$78. Mountain Winery, 14831 Pierce, Saratoga. www.ticketmaster.com

Optic nerve

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› johnny@sfbg.com

This is the second year that the Guardian has devoted an issue to local photographers. I’ll wait until it happens a third time before deeming the project an annual endeavor. It’s easy to believe in that possibility, because the range of photography in the Bay Area right now is exceptional. This great state of affairs is partly due to spaces and organizations such as SF Camerawork, RayKo Photo Center, and PhotoAlliance. It’s also due to more do-it-yourself street-level groups such as Hamburger Eyes and one of this issue’s 10 contributors, Cutter Photozine.

Last year’s photography issue focused on portraiture, but this year I’ve opted for a survey approach that allows for spontaneous connections. Jessica Rosen and Sean McFarland both utilize collage, but with vastly different results. Keba Konte’s collage aesthetic adds objects to imagery and links history to autobiography. Investigative work leads to political or societal exposure within Trevor Paglen’s and David Maisel’s photography. Adrianne Fernandez and Bayeté Ross-Smith focus on youth as they bring new twists to traditions such as the family album and the prom portrait. Dustin Aksland’s portraiture also includes teenagers, sometimes plopped onto or stopped within American landscapes, while Mimi Plumb likens rural landscapes to the backs of horses.

August may be when summer winds down and a portion of SF prepares to camp elsewhere, but it’s an important time for local photography. This issue coincides with PhotoAlliance’s and the San Francisco Arts Commission Gallery’s annual exhibition of local photographers. Two of the 10 artists on the following pages are part of that show. American photography also will be playing a major role at the San Francisco Museum of Modern Art next year, when that space presents an exhibition devoted to Robert Frank and his classic monograph The Americans (Steidl).

In honor of an old adage or clichéd truth, there aren’t a lot of words next to the pictures that follow. But the text does include Web site information. In most cases, these photographers’ sites function as another gallery of sorts, one that lacks the tactile nature and dimensions of an actual photograph but at least suggests the variety of a body of work to date. Scope them out, and scope out Pixel Vision, the Guardian‘s arts and culture blog, for interviews and other photography-related pieces this week. Last, before you look, some thanks are due to Glen Helfand, Chuck Mobley, and Mirissa Neff for their help in the selection process, and to Kat Renz for a last-minute idea.

Also in this issue:

>>Killer shots from the bowels of rock

>>Before stalkerazzi, there was Gary Lee Boas

>>Q&A with Heather Renee Russ of Cutter Photozine

>>Q&A with Jessica Rosen

>>Molly Decoudreaux looks beneath local nightlife
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NAME Adrianne Fernandez

TITLE Daddy Sends His Love

BACKGROUND In my "Alternative Album" project, the interplay of social and personal history is essential. It yields a complex tension between irony and nostalgia for the so-called family album.

SHOUT OUTS My influences include artists such as Larry Sultan and Elinor Carruci, who have worked with their prospective families to create intimate images that provide a compelling look into family dynamics.

SHOWS "Gender Agenda," through Sept. 14. The Gallery Project, Ann Arbor, Mich. www.thegalleryproject.com. Also "Not Your Mama’s World," Fri/8 through Sept. 9. Washington Gallery of Photography, Bethesda, Md. www.wsp-photo.com

WEB AlternativeAlbum@aol.com

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NAME Jessica Rosen

TITLE I Could See the Amazon from the 5th Floor of the Robert Fulton Projects
BACKGROUND This work is a large-scale photo collage installation made from cut-up, layered C-prints of my original photographs. It measures about 10 feet by 12 feet. Because this scale relates to human scale, it allows the viewer to experience the image as an environment rather than as an isolated image.

SHOUT OUTS My work stems from a fascination with people. Over the years my art practice has continually focused on portraiture. Although my newer collage works may seem quite fantastic, most are truly portraits in the traditional sense.

SHOW "Jessica Rosen," through Oct. 1. Open 24/7 (storefront window). Keys That Fit, 2312 Telegraph Ave, Oakl., http://www.xaul.com/KEYS/home.html

WEB www.jessicarosen.com

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NAME Cutter Photozine

TITLE Top to bottom, untitled photos by (1) Ethan Indorf; (2) Keith Aguiar; (3) Ace Morgan; (4) Darcy Sharpe

BACKGROUND Cutter is a San Francisco documentary photo magazine. Founded by Heather Renee Russ and Alison O’Connell, it has a DIY ethic and is eco-positive (it uses recycled paper and soy-based inks). Cole Blevins, Jesse Rose Roberts, Sara Seinberg, and Rachel Styer also worked to put out the first issue, which includes 20 photographers and spotlights Ace Morgan’s uncanny blend of rage, longing, joy, and punk rock.

SHOUT OUTS Cutter is dedicated to people telling their stories and documenting their existence. We seek to undo traditional voyeurism toward the "other" and place the power of sight in the focused home of the author.

SHOW The first issue can be purchased at local shops such as Needles & Pens. They’re currently accepting submissions for the second issue, due this fall. There will be a release party and photo show in late November.

WEB www.cutterphotozine.com

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NAME David Maisel

TITLE 1165 (from Library of Dust)

BACKGROUND The large-scale photographs of the "Library of Dust" series depict individual copper canisters, dating from 1913 to 1971, which contain unclaimed cremated remains of patients from Oregon’s state-run psychiatric hospital.

SHOUT OUTS Robert Smithson, NASA photographs, 19th-century exploratory landscape photographers (especially Timothy O’Sullivan), and the New Topographics photographers from the mid-1970s.

SHOW "David Maisel: Library of Dust," Sept. 4–Oct. 4. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 10:30 a.m.–5 p.m. Haines Gallery, 49 Geary (suite 540), SF. (415) 397-8114, www.hainesgallery.com. Library of Dust (Chronicle Books, 108 pages, $80) will be released in October.

WEB www.davidmaisel.com

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NAME Keba Konte

TITLE Detail from "888 Pieces of We"

BACKGROUND The eighth day of the eighth month of the eighth year is approaching, and in alignment with this auspicious moment I have created this exhibition of 888 photographs printed on wood, copper, and vintage books. I’ve had to select from thousands of images spanning 42 years in order to choose 888 that reflect my journey: there are protests and portraits, street moments and political movements; freaks, friends, and family members. As a documentary and portrait photographer, one observes the beautiful strangers. However, looking at this large body of work, another story comes into focus: my own.

SHOUT OUTS Roy DeCarava, Gordon Parks, Sebastião Salgado, Ruth Bernhard, Kimara Dixon.

SHOW "888 Pieces of We: A Photo Memoir," Fri/8 through Sept. 8. Oakland Art Gallery, 199 Kahn’s Alley, Oakl. (510) 637-0395, www.oaklandartgallery.org

WEB www.kebakonte.com

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NAME Sean McFarland

TITLES Untitled (park)

BACKGROUND I work from an archive of photographs I’ve made, along with images gathered from print and other media. Through collage, new pictures are formed. Recently my work has focused on weather, nighttime, and the ocean.

SHOUT OUTS For now, two books: National Audubon Society Field Guide to North American Weather, (Knopf, 1991), and Gerhard Richter’s Atlas (D.A.P., 2007). Also, students, friends, and just about any archive.

SHOWS "18 Months: Taking the Pulse of Bay Area Photography," through Sept. 17. Mon.–Fri., 8 a.m.–8 p.m. San Francisco Arts Commission Gallery at City Hall, 1 Dr. Carlton B. Goodlet Place, SF. (415) 554-6080, www.sfacgallery.org. Upcoming: "Johanna St. Clare, Paul Wackers, Sean McFarland, Dan Carlson," October. Thurs.–Sat., 1–5 p.m. Eleanor Harwood Gallery, 1295 Alabama, SF.

WEB www.sean-mcfarland.com

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NAME Dustin Aksland

TITLE Paso Robles, CA (2005)

BACKGROUND This was shot during a trip to Paso Robles. My friend and I pulled off the highway to take the back roads into town. As soon as we pulled off, we passed this man sleeping in his car. We went about a half-mile and I made my friend turn around. We pulled up in front of the car and I shot two frames out of the passenger window.

INSPIRATION "Useful pictures don’t start from ideas, they start from seeing." — Robert Adams.

SHOWS "States of Mind," September. TH Inside, Brussels, Belgium. "States of Mind," November. TH Inside, Copenhagen, Denmark.

WEB www.dustinaksland.com

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NAME Bayeté Ross-Smith

TITLE Here Come the Girls

BACKGROUND This is part of a series that documents high school students in Berkeley, east Oakland, San Francisco, and Richmond as they mark their ascension from childhood to adulthood through the celebratory rite of passage known as prom. Taking a cue from traditional prom photos, the portraits allow for seriousness and playful flamboyance, depicting a vast array of budding identities.

SHOUT OUTS Walter Iooss, the Magnum photographers, and James Van Der Zee.

SHOW "Pomp and Circumstance: First Time to Be Adults," Sept. 4–Oct. 11. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 10:30 a.m.–5 p.m. Patricia Sweetow Gallery, 77 Geary (mezzanine), SF. (415) 788-5126, www.patriciasweetwogallery.com. Upcoming: "Off Color," Sept. 19–Nov. 1. RUSH Arts Gallery, New York.

WEB www.patriciasweetowgallery.com

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NAME Mimi Plumb

TITLE Harley

BACKGROUND These photos are part of an ongoing series that began about 10 years ago when I photographed a herd in the John Muir Wilderness of the Sierra Nevada. The horses in this new series live in Petaluma.

SHOUT OUTS Horses’ backs embody the landscape. They become the horizon and horizon line, at times transforming into the rolling hills of the California landscape where I grew up, before tract houses and strip malls became the norm.

SHOW "18 Months: Taking the Pulse of Bay Area Photography," through Sept. 17. Mon.–Fri., 8 a.m.–8 p.m. San Francisco Arts Commission Gallery at City Hall, 1 Dr. Carlton B. Goodlet Place, SF. (415) 554-6080, www.sfacgallery.org

WEB www.mimiplumb.com

———-

NAME Trevor Paglen

TITLE KEYHOLE 12-3 (IMPROVED CRYSTAL) Near Scorpio (USA 129), 2007

BACKGROUND This is a photo of reconnaissance satellite, taken from the roof of my house in Berkeley. It’s part of a series of photos of American spy satellites.

SHOUT OUTS I got interested in photography because I was working on projects that were nonfiction allegories, projects that played with notions of truth and what we can and can’t see. To me, photography is the medium that does that best. It captures reality and at the same time doesn’t. I like that tension. I also became interested in photography post-9/11 because photography became an aggressive gesture in a way that it wasn’t before — people could be arrested for photographing the Brooklyn Bridge. The act of taking photographs outside became an exercise in civil rights.

SHOWS "The Other Night Sky," through Sept. 14. Wed.–Sun., 11 a.m.–5 p.m. Berkeley Art Museum, 2626 Bancroft, Berk. (510) 642-0808, www.bampfa.berkeley.edu. Upcoming: Taipei Biennial, Sept. 13–Jan. 11, 2009; Istanbul Biennial, 2009; "2008 SECA Art Award Winners," Feb.–May, 2009, SFMOMA.

WEB www.paglen.com

“Summer Reading”

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REVIEW I wish I were Jorge Luis Borges. The Argentine man of letters was top among those writers, such as Orhan Pamuk, Margaret Atwood, and Ali Smith, whose nonfiction is even more potent, surreal, and addictive than their fiction. Borges once remarked on a translation of William Beckford’s Vathek: "The original is unfaithful to the translation." I’d say the same about "Summer Reading" at Hosfelt Gallery. Taking as their inspiration a range of literary classics, from Jane Austen’s Mansfield Park (1814) to Philip K. Dick’s Do Androids Dream of Electric Sheep? (1968), the 18 works on display at the group show manage to be more than just windows into each artist’s reading of a particular book. They provide a bird’s-eye view of internal floor plans, acting as translations from the literary into the visual, increasing ambiguity while lowering page count.

Su Blackwell’s four wall-mounted sculptures use actual books, their pages cut and molded into little trees of text and gallivanting characters, creating miniature worlds so fragile that they seem to have been frozen in time so they will not break. In Blackwell’s The Secret Garden — inspired by the book of the same name — a little girl is supported by tree branches from one angle, but from another appears to be reaching for them unsuccessfully, frightened and alone.

John O’Reilly’s collage, Dead Centaur — Of Cormac McCarthy, captures the dark textures of reality in McCarthy’s writing, and José Antonio Suarez Loñdono’s intimate notebook drawings, inspired by Kafka and Evan S. Connell, are like footnotes in the form of silhouettes. Amy Hicks’ videos, ReAdaptation: the book series (2007–08), use flip-books meticulously constructed by taping pictures onto book pages. One of the volumes is on display and looks like something a stalker would construct, but the videos are more melancholic than creepy.

SUMMER READING Through Sat/9. Tues.–Sat., 11 a.m.–5:30 p.m. Glenn Kurtz reading, Fri/8, 6 p.m. Hosfelt Gallery, 430 Clementina, SF. (415) 495-5454, www.hosfeltgallery.com

Dolly Parton

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PREVIEW That fact that Dolly Parton simply exists makes me happy. Of course, if the now-62-year-old lady from Locust Ridge, Tenn., didn’t exist, it’s likely she would have been invented by some lonesome trucker with a Venus of Willendorf complex — or by Merle Haggard. (Witness Redding’s Calicountry legend crushing hard in 1981’s Sing Me Back Home [Times Books]: "I didn’t just fall in love with the image of Dolly Parton. Hell, I fell in love with that exceptional human being who lives underneath all that bunch of fluffy hair, fluttery eyelashes, and superboobs.") The mythology is firmly in place: the dirt-poor upbringing as the fourth of 12 hungry mouths to feed in a broken-down, one-room cabin in Tennessee’s Great Smoky Mountains. There’s the idea that despite the protestations of so many smitten suitors, including the Hag, Parton has remained wedded to Carl Dean, raising and playing "Aunty Granny" to younger siblings — and filling in as godmother to Miley Cyrus. Her accomplishments as a songwriter and vocalist almost seem like mere frosting next to the C&W tales and Tinseltown efforts, though numbers like "Coat of Many Colors" match many tunes in Haggard’s catalog in their economy, storytelling, and resonance, while such cover turns as mentor Porter Wagoner’s "Lonely Comin’ Down" still possess an emotional power more than three decades along, thanks to Parton. And the moths still flutter toward her flame: Parton recently contributed vocals to a new song written for Jessica Simpson ("Guess you could say it’s the ‘blonde leading the blonde’," Parton has quipped), and a 9 to 5 musical, for which Parton wrote the music and lyrics, premieres in Los Angeles Sept. 20. Word has it that back problems kept the Tennessee Mountain thrush from South By Southwest this year, but one can only hope her recent, wildly successful European tour supporting Backwoods Barbie, her first self-released long-player, will smooth the way to the Greek’s stage. So say hello.

DOLLY PARTON Tues/5, 8 p.m., $39.50–$125. Greek Theatre, UC Berkeley, Hearst and Gayley, Berk. (510) 809-0100, www.apeconcerts.com

Between two worlds and then some

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› a&eletters@sfbg.com

There have been books, documentaries, feature films, and more than one play about Ishi, the last "wild" California Indian who emerged from the hills of northern California in 1911 and became friend and subject of renowned Berkeley anthropologist Alfred Kroeber and his colleagues. Purportedly the sole surviving member of the Yahi tribe — just one of many indigenous groups decimated by white settlers’ diseases as well as the state-sanctioned genocidal violence against California’s native populations in the late 19th century — Ishi succumbed after five years in San Francisco to the white man’s disease of tuberculosis, only to rise again years later (thanks in part to a famous biography written by Kroeber’s second wife, Theodora) as a symbol of new age spiritualism and the elevation of naturalism as ennobling.

Ishi has been the subject of many stories, then, though none necessarily entirely or even remotely his own. Ishi: The Last of the Yahi — Bay Area playwright and Theatre Rhinoceros artistic director John Fisher’s own foray into the history, legend, and meaning of Ishi — takes the idea of the native Californian’s true story as its supple (if somewhat overworked) premise, boldly mixing fact and fiction as well as contemporary and early 20th-century mores to tell a tale of deeply rooted systemic violence that, among other things, links the production of scientific knowledge and the construction of difference (especially racial and sexual difference) to the all-out homicidal impulses of a colonial system of conquest.

This bracing scope, however, is only fitfully fulfilled by the play’s uneven characterization and somewhat tortuous plot, which attempts to ground the play’s more abstract and polemical aspects in a set of human relationships that reverberate across the cultural gulf separating Ishi from his white hosts. Bounding across roughly 150 years, three cities, and two continents, Ishi throws up promising ideas throughout, but ends by being too disjointed and dramatically hit-and-miss to adequately sustain them.

The play brackets the principal action, set between 1911 and 1916, with an academic job talk and a university undergraduate course dealing with the history and implications of Ishi’s story, interspersed with loud and violent scenes of bounty hunters running down Ishi’s relatives. Alfred Kroeber (Kevin Clarke), and colleagues Thomas Waterman (Aaron Martinsen) and Dr. Saxton Pope (Matt Weimer), meanwhile, move effortlessly between the early 20th century and the contemporary setting, in which terms like "postcolonial multiculturalism" are confidently bandied about.

Our first glimpse of Kroeber is of a highly ambitious man courting the favor of a rich benefactress — Phoebe Apperson Hearst (Kathryn Wood) — to secure the necessary funds for a world-class anthropology museum. He is also a loving husband whose wife, Henrietta (Jeanette Harrison), is slowly dying of TB. Here, Henrietta is supposedly the daughter of Kroeber’s renowned former teacher, Franz Boas, a problematic father figure Kroeber has broken with. These connections will find echoes in the relationships in Ishi’s own family. The deal brokered between Kroeber and Hearst, meanwhile, ends up turning on Kroeber’s success in extracting the personal history of the last Yahi, who has just been discovered half-starved and rummaging for scraps in Oroville.

Played with an air of abiding confidence, subdued sorrow, and quiet humor by Michael Vega, Fisher’s Ishi must negotiate a world in which everyone wants a figurative or literal piece of him but where human sympathy and the growing bonds of friendship have their own pull, bidding him to reveal more of himself. Solidly crafted performances from Clarke and Harrison help anchor the drama in the complexity and heartache of the death-shrouded Kroeber marriage. Martinsen is a persuasive and sympathetic Waterman, while Wood’s turn as a jocular and surprisingly ribald Hearst lends further pluck to an otherwise uneven cast. But at more than three hours, including back-to-back addresses from three characters driving home a moral-laden and convoluted conclusion, there is a leaner play waiting to come out here.

ISHI: THE LAST OF THE YAHI

Wed/23–Sat/26, 8 p.m.; Sun/27, 3 p.m., $15–$35

Theatre Rhinoceros

2926 16th St., SF

(415) 861-5079, www.therhino.org

No Age ways

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› kimberly@sfbg.com

SONIC REDUCER No Age is in dire need of some vulture repellent. The much-acclaimed Los Angeles duo might have been decreed the future of rock by cultural gatekeepers like those yuksters at New Yorker, sailing forth via the freedom-first joys of "Miner" and negativity-bemoaning "Teen Creeps" on their urgent latest, Nouns (Sub Pop), but that doesn’t mean all is peachy keen in No Ageland, says drummer-vocalist Dean Spunt.

"We get e-mails all the time from managers and people who want to make our merch for us — I call them the vultures. Everyone kind of wants a piece of whatever’s going on," explains Spunt, 26, keeping it casual and amiable from LA as he and guitarist Randy Randall, 27, prepare to go on tour. "It’s like, ‘Hey, guys, I can charge you $8 for a shirt.’ I think most bands that aren’t DIY don’t know how much a T-shirt actually costs to make."

No Age happens to print its T’s at a silkscreen shop owned by Spunt’s mother. Making things there — and skate culture — left an impression concerning the hands-on pleasures and tangible economics of doing it yourself. "I really want to keep it fun for us, but it’s also now kind of become our living," Spunt confesses. "I think a lot of the vultures would try to have you not make it so fun. There’s a definite way, a cookie-cutter approach, that people take to music and bands, and I think a lot of people — the vultures I talk about — they just see it as that. It’s, like, ‘Well, hey, this is what bands do.’ But me and Randy don’t really do what bands do."

That goes for everything from taking money from their label to fund tours to renting a bus that costs the same amount a day as a van might per month. "I just like to keep the books clean," Spunt continues. "The whole Minutemen ‘jam econo’ thing — it sort of applies to us, you know."

DIY is far from dead for the band. Spout says he silkscreened No Age’s first seven singles by himself at his mother’s shop, as well as the band’s first "product": a bandanna, which the two ex-Wives members sold along with a DVD-R of art videos during their first tour. As much as any non-self-released album, Nouns reflects those values — born amid punk, fostered by riot grrrl and hardcore, and now nurtured by community at the Smell, in addition to those at like-minded venues like Gilman Project and 21 Grand (the latter is reportedly again under pressure to discontinue regular shows).

"We had an opportunity to record in a nicer studio," Spunt said of Infrasonic in LA and Southern Studios in London. "With Weirdo Rippers [FatCat, 2007] we were limited in terms of what we could do with sound, which is a big part of our band. The reason we’re two people is we kind of like the limitations being put on us so it makes us more creative and stuff, but we wanted to open the sound up a little more with Nouns, and I think we did. The noisier parts got noisier, and the poppier parts got poppier, and it’s a little more direct. The ambient stuff doesn’t run as long, and it just kind of gets you there." Mainly, he adds, they wanted to write songs that were fun to play live.

With Nouns, imagine No Age fingering its predecessors’ punk and post-punk garments longingly when it isn’t generating the larger-than-its-numbers blast of Hüsker Dü or Volcano Suns. The twosome looks directly back to an Alternative Nation for touchstones, while documenting a many-hued spectrum of faces and places in Nouns‘ accompanying booklet, snapping haunts and audiences that look startlingly alike, regardless of whether they were captured in Portland, Ore., or London. You might draw a line from one city, one space, or one gen to the next — from the 60-year-olds Spunt says write them fan e-mails to the 14-year-olds who might materialize at the all-ages shows. "It’s awesome," marvels Spunt. "It sort of goes with the name, I guess."

As for their future as "DIY professionals," as Spunt puts it, the pair simply want to keep making whatever they like. "I’m sure someday that will not be cool," he offers with a chuckle. "I’m waiting for the backlash."

NO AGE

With Mika Miko and Abe Vigoda

Mon/28, 8 p.m., $13

Great American Music Hall

859 O’Farrell, SF

www.gamh.com

Also Club Sandwich two-year anniversary

With Mika Miko, Abe Vigoda, and KIT

Tues/29, 9 p.m., $8

Lobot Gallery

1800 Campbell, Oakl.

www.clubsandwichbayarea.com

SIDEBAR 1

A BLAST, FAST

CAROLINER


More unforgettable noise pageantry from underground OG Grux. With Hans Grusel’s Krankenkabinet, Loachfillet, Amphibious Gestures, and Bones. Wed/23, 9 p.m., $10. Café Du Nord, 2170 Market, SF. www.cafedunord.com

THE DUKE SPIRIT


That’s the spirit of UK retro rock with girlish sighs. With Aarrows and Scene of Action. Wed/23, 9 p.m., $10. Bottom of the Hill,1233 17th St., SF. www.bottomofthehill.com

EDGETONE NEW MUSIC SUMMIT


The seventh annual experimental music hoedown gathers such diverse players as No More Twist!, a "sound and light lie detector" No More Twist!, local Chinese American hardcore unit Say Bok Gwai, Moe! Staiano’s Mute Socialite; High Mayhem–ite Carlos Santistevan’s the Late Severa Wires, and Birgit Ulher Trio with Gino Robair and Tim Perkis. Wed/23–Sat/26 at Community Music Center, 544 Capp, SF. See www.edgetonemusicsummit.org for details.

WYCLEF JEAN

The ex-Fugee brings out a full band. Wed/23, 9 p.m., $35–<\d>$50. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

TOILING MIDGETS


Up from the ashes of Negative Trend and the Sleepers. With Cloud Archive and VIR. Fri/25, 10 p.m., $10–<\d>$12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

HARVEY MILK


Harvey Milk lives — in the form of his namesake Athens, Ga., art-metal band, which plays live for the first time in SF. Sun/27, 8 p.m., $14. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

Reliability

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› le_chicken_farmer@yahoo.com

CHEAP EATS Most expensive thing I ever bought was a shiny, concert-quality, made-in-Trinidad steel drum which, in its case at the head of my futon, makes an excellent back rest while I’m reading books. The drum I play and love and cherish is a rusty, junky trash can, hammered out by some white guy with a stutter in Mendocino. He used it as his beach drum for a while, then left it out in the rain for a winter, then gave it to me for $100 and it sounds like butter. Whereas my $1,600 Steel Island special, crafted by Tony Slater and fine-tuned by the great Bertie Marshall himself, sounds like paper clips in the laundry. But, hey, back support is very important. Without it, I would constantly be hitting my head on the floor.

Last fall, for the first time in my life, I started driving a reliable car. It was less than 10 years old (a first for me), had air bags (a first for me), a door lock clicker (a first for me), and three state-of-the-art cupholders. In March, the engine blew up. Cost me $1,649 to fix it, and it’s still not fixed. In the past four months my reliable car has spent more time with my mechanics, Larry, Curly, and Moe, than it has with me.

Luckily, it shit the bed so fast I hadn’t yet got rid of my ’86 3-cylinder pickup truck. So that’s what I’ve been driving, Old Reliable — only when I say reliable in this case I mean it. No tongues, no cheeks. My old truck may take many tries to go into first gear, but it will, eventually, go. And once a month it is going to leave me sitting on the side of the road somewhere, broken down, for exactly 52 minutes.

I know that nice guys in nicer, bigger trucks than mine will stop and noodle around under my hood, try to get it going, give up, tell me I need a new this or a that, and offer to give me a ride somewhere. And I will sit there and smile and say, "No thanks, but thank you though." And sometimes right in front of their disbelieving eyes, if 52 minutes has passed, I will turn the key and it will start and run for exactly another month. That’s what I call reliability.

I’m trying real hard to get legit. I’m a part-time nanny now, and kids and parents are counting on me. So I got a cell phone. My first! Now, for $40 a month, I pretty much always know what time it is. This is a first for me too, since I’ve never been a watch-wearer. And even though I am invariably out-of-signal when my car dies, I can sit there and look at the time on my cell phone and know exactly when 52 minutes is up.

For 10 years I wrote on an old Gateway dinosaur. Then, a year and a month or so ago, I bought a shiny new MacBook with a one-year warranty. As a visual joke, a twist on my farmerly aesthetic, I set up the Gateway outside next to the chicken coop. When it rains, I put a tarp over it. But in any case it is generally covered with dust and feathers and shrouded in salty coastal fog. Every now and then, on a nice day, I turn it on, and am always pleasantly surprised that it boots.

In fact, I’m writing on it right now because my MacBook died — not only mere months out of warranty, but on the exact day the new iPhones came out, assuring I would not be able to see anyone at any Apple store for at least a week.

So I took it to MacMedics. Their estimate: $960. How much I paid for the new computer one year and one month ago: $950. Do they sell new Macs? You bet!

While it’s still Poo-Poo Pride month, I would like to dump a figurative pile of stinky, steamy, corn-dotted, meat-eaterly chicken farmer shit all over Apple Computer, Saturn, Steel Island, and AT&T — only in AT&T’s case I don’t exactly know why yet. Forty dollars a month is more a trickle than an explosion. Still, I hold my cell phone like a hand grenade.

——————————————

My new favorite restaurant is Taqueria La Nueva, and not just ’cause I work right up the block. Although that helps. The al pastor burrito is wonderful, the carnitas less so. And it’s kind of inconspicuously tucked away on an odd corner of Foothill in Oakland. They have to put a sandwich board out in the street — not the sidewalk, in the street. Yes yes yes, we’re open open open. Right here. And still there’s never anyone there. Four-fitty gets your burrito, chips, and some great green salsa. That’s old school, and that rocks, in my opinion.

TAQUERIA LA NUEVA

Daily: 9 a.m.–10 p.m.

5324 Foothill, Oakl.

(510) 698-4036

No alcohol

AE/DISC/MC/V

Self-help books

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ISBN REAL In a recent, much-discussed Washington Post op-ed, Twelve publisher Jonathan Karp said, "There are thousands of independent publishers and even more self-publishers. These players will soon have the same access to readers as major publishers do, once digital distribution and print-on-demand technology enter the mainstream. When that happens, [major] publishers will lose their greatest competitive advantage: the ability to distribute books widely and effectively."

The "widely" Karp refers to is an advantage that major publishers lost a long time ago. A physical copy of the latest Robert Ludlum novel is far less accessible to the global community than Joe Shmuck’s online prose poem about his first drug experience. It’s the "effectively" that’s taking its sweet-ass time to materialize. After all, thanks to the ease of e-distribution, the Internet has already become a cosmic slush pile.

Karp foresees a time when the glut of options for disposable entertainment will make brand-establishment for "formula fiction" a less successful strategy, leaving attention to quality as the only way for a major publisher to stay relevant. On the contrary, it seems to me that the agoraphobic variety offered by the Internet would make brand-establishment quite successful for a major publisher. Maybe it’s defeatist thinking, but I wonder if the only truly exciting possibility for seekers of uncompromising work in the near future is that smaller enterprises might have a better chance to survive alongside the larger ones. Maybe the practical hope is that the eventual normalization of "digital distribution and print-on-demand technology" might be sufficient to sustain the talented independent writer of modest financial expectations.

One potential beneficiary of this modest revolution is novelist Carl Shuker, who is publishing his brainy horror experiment Three Novellas for a Novel all by his lonesome at www.threenovellasforanovel.com. This month, Shuker — a New Zealander now living in London — has made the second of the three titular installments, ?O Hills Park, available for download. Also available is the first novella, The Depleted Forest, about an editor in an alternate-present Japan who is proofreading the computer-translated memoir of a member of a secret society of rape-tourists. The third installment, Beau Mot Plage, will be uploaded soon. For the PDFs, he’s charging — à la Radiohead — whatever you want to pay.

Since Shuker has already published two well-regarded novels (2005’s award-winning The Method Actors and 2006’s The Lazy Boys), he’s not exactly at the bottom of the slush pile. But he’s not Radiohead, either. More to the point, while The Depleted Forest is a relatively accessible and not unmarketable story, ?O Hills Park is the kind of thing only an Internet could love. It’s the full memoir excerpted in the first novella and presented in the quasi-English of computer translation. Rushed to publication to catch the public’s fleeting interest in the first book’s sex scandal, the text of ?O Hills Park is as much a mesmerizing word puzzle as an intriguing piece of fiction. It’s also a supremely ironic comment on the publishing culture from which the work was spared — the culture whose cathartic rehabilitation Karp is so optimistic about.

It’s doubtful either Karp or Shuker is making that culture hang its head in shame. Back when writers with a taste for food and shelter were at the mercy of those with the exclusive means of wide distribution, they had no choice but to pretend publishers answerable to stockholders had an obligation to publish works with all the mass appeal of a conscript military. It’s always been an honorable delusion, but it may be that such an insistence is now a waste of the energy that should be spent learning how to cut out the middleman.

You’re going to myth me

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You don’t need to pick up all the subtleties of Berkeley-born Iranian American artist Ala Ebtekar’s work to appreciate the resonant beauty of, for instance, The Ascension II (2007), and its angelic, part-griffin, semi-human, quasi-Homa messenger drawn from Persian mythology, winging across reams of Farsi as assorted readers’ delicate notes intricately lace the printed manuscript. But it helps to know that the iconography of that winged messenger reaches back 5,000 years to a pre-Islamic Iran, was eventually appropriated in depictions of Ayatollah Khomeini, and that the angels with keys dangling from their necks, surrounding the wary mythical creature, refer to the child soldiers enlisted during the Iran-Iraq War (1980–88) to run across battlefields and detect land mines. "They’d give these kids these keys to heaven," explains Ebtekar at his Palo Alto studio near Stanford University, where he received his MFA. "It’s like, ‘Whoa!’ That’s a certain kind of mythology, but it’s tapping into something apocalyptic."

And you don’t need to know the specifics of aerospace design to appreciate the watercolor, acrylic, and ink jets tearing across script in The Breeze of Time (2002): they happen to be the exact ones used in the Iran-Iraq War. Ebtekar is aware that viewers bring their own connections to the work. "Yeah, I was doing this stuff before 9/11, in school, on book pages, and then 9/11 happened and I stopped. I thought, there’s no way I can do this," he recalls. Much of his work tied in directly with the Iran-Iraq War, a part of his own personal mythology, and the reason his activist Iranian parents remained in the States. "I was very much tapped into those older stories and histories. But then they announced the [Iraq] war, and I thought, actually, if there’s any time to do it, it’s more important to do it now than not."

The urgency of the present continues to call to Ebtekar, who draws from his studies in Iran of the refined art of Persian miniature painting and the less-known, more visceral field of coffeehouse painting for his works, which range from the aforementioned pieces that play off rich layers of text and imagery — and Iranian poetry and history — to large-scale graphite drawings that superimpose the outlines of Iranian wrestlers — current street-level mythological heroes — with hip-hop figures culled from Ebtekar’s music-obsessed youth, one spent DJing at parties and interning as a hip-hop DJ at KALX 90.7 FM.

As we listen to classic tracks by his mother’s pop idol, Iranian diva Googoosh, and scope out images of strongmen striking poses in a zurkhaneh (house of strength), juxtaposed with aerodynamic break-dancers in his studio — aptly situated over a downtown Palo Alto coffeehouse and crammed with art supplies, books, cassettes, vinyl, and a Tehrangeles T-shirt Ebtekar made for the 2006 California Biennial — it’s clear the artist’s pop interests still find a way to light: witness the 2004 Intersection for the Arts show that saw Ebtekar pairing a white-washed Iranian coffeehouse installation with shoes sporting fat laces fashioned from ornate Persian textile. "Bay Area Now 5" will find him combining his two approaches with a piece that layers ancient and modern-day warriors in a ghostly epic that looks backward and forward — a gesture familiar to Ebtekar, who rolls his eyes over John McCain’s comment on recent cigarette exports to Iran — "Maybe that’s a way of killing them" — and is currently teaching art at UC Berkeley in preparation for his dream. By 2011, he wants to start an art foundation and school in Iran.

After the US presidential election, Ebtekar hopes he can make it happen. First, he says, "there needs to be more diplomacy. In Iran, there’s this thing about nostalgia. You had such a great empire in the past — how do you move forward?" As a Bay Area 18-year-old who fell in love with Iran when he studied art there in 1997, he’ll be able to synthesize the past and future, bringing his ancestral mythology back to the old country in new forms. "It’s like having these multiple identities and being able to tap into this side of you and that side of you," Ebtekar explains. "They’re not clashing, you know what I mean. They’re rocking it full force."

Book ’em

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› a&eletters@sfbg.com

Michael Swaine is contagious. Whether investigating Reap What You Sew/Sewing for the People (2001, ongoing) in the streets of the Tenderloin, using braille to make a Plea for Tenderness (2007) at the Southern Exposure Gallery, or joining forces with Futurefarmers and the interdisciplinary design studio’s founder, Amy Franceschini, with whom Swaine began collaborating in 1998, the San Francisco artist brings a driven curiosity and sense of aesthetic detail to every project he touches. If you experience his work, you can’t help but get involved. He has been dubbed Futurefarmers’ "analog anchor," and his involvement in "BAN 5"’s Ground Scores: Guided Tours of San Francisco Past and Personal, guest-curated by Valerie Imus, is an ideal real-world interactive piece in a city of book lovers.

Swaine hopes his walking tours of individual home libraries, How to Organize a Public Library, elicit new audiences for art. He wants to reach "outsiders who don’t go to museums, who perhaps don’t want to go to museums," he said recently on the phone from his SF studio. "Maybe they just happen to love books." Everyone on the tour will be an "active participant," he said. To sign up, people will fill out a survey and must agree to include their own home library on the tour — if it fits the grid of walkable homes that weekend.

The artist is no stranger to walking tours. When he first moved to the Bay Area, he worked at the Exploratorium and fell in love with Bob Miller’s "light walks." These inspired Swaine’s now-legendary "weed walks" that he co-leads with botanist Archie Wessells, and first developed in the Exploratorium parking lot. For his 30th birthday, Swaine organized a 17-hour walk around San Francisco, meeting a different friend each hour and "connecting the dots."

I could connect with Swaine’s vision: my father, an architect in Santa Cruz, has long dreamed of building a library structurally based on the Iliad. What this means, exactly, neither of us knows, but talking about it has been a great bonding ritual for years. Maybe I can convince my dad to come up to the city and turn my sporadically gathered collection of 1970s poetry books and photography monographs into a Homeric fort. If I can, you are all invited to come by with plastic spears and knock it down. Then, with Swaine’s guidance, we might begin to farm the future, collaborating with the books at our feet.

HOW TO ORGANIZE A PUBLIC LIBRARY Walking tours Aug. 23 and 30 (also Sept. 20 and 27), noon–4 p.m. Locations to be announced. For reservations, call (415) 978-2710, ext. 136, or go to www.apleafortenderness.com

Beyong the nerd herd

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› a&eletters@sfbg.com

REVIEW Amid impoverished rural segregation, my parents were part of the first bus boycott in Montgomery, Ala. While my father studied Frantz Fanon and tae kwan do in Okinawa, my mother went on to be a probation officer in Los Angeles during the Watts riots. I was born in a riot-torn Washington, DC, around the time my father helped take over the administration offices of Howard University. I’m a Black Movement baby, and Ta-Nehisi Coates is one of my number.

Coates’ The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood (Spiegel and Grau, 240 pages, $22.95) is a memoir about growing up in Baltimore through the Black Power 1970s and crack power ’80s as one of the seven children of Paul Coates, owner and founder of Black Classic Press.

Judging from recent books such as Junot Diaz’s The Brief and Wondrous Life of Oscar Wao to Shawn Taylor’s Big Black Penis, the black nerd has become the locus of pomo literary style. And why not? Who, besides me, didn’t love Urkel? Coates begins his tale as a sensitive black nerd — Beautiful Struggle even has a Dungeon and Dragons–esque map of Old Baltimore on the inside front cover. Swords, dragons, and Monotype Corsiva font chart intersections like Garrison and Liberty, where, as the author relates, "the Orcs cold-played me for my scullie." Ultimately Coates moves beyond the nerd trend, instead playing the vulnerable, reluctant warrior with grace and wit.

Initially unwilling to fight, Coates is sucker-punched, jacked, and tormented on the mean streets. To navigate Baltimore’s threats and perils means acquiring what he calls "The Knowledge": street smarts and savvy that is "the sum experience of our ways from the time Plymouth Rock landed on us." This knowledge is built upon the realization that "death was jammed in us all, hell-bent on finding a way out," and that a man shouldn’t measure his "life in years but in style."

In Beautiful Struggle, Coates contrasts his older brother Bill and father Paul. Bill is a popular player in a decaying neighborhood, struggling to make it to the outside world. Paul is a former Black Panther and full-time revolutionary attempting to raise seven kids to attend the mecca of Howard University, where he’s a janitor, rogue black historian, and would-be publisher.

Watching Bill embrace hip-hop, smoke blunts, chase dimepieces, and pack a biscuit, Coates becomes versed in The Knowledge. He sets it against his father Paul’s "Knowledge of Self," as drawn from Kwanzaa, Nkrumah, and the consciousness of being more god than man and more man than animal. In attempting to find a balance between these tropes, Coates invokes the words and experiences of J.A. Rodgers, Rakim, George Jackson, Ishmael Reed, and KRS-ONE with uncanny ease. He embodies both the hope and the bane of the Black Power movement, and his flashbacks capture its tender and toughening moments.

It is this tension that gives The Beautiful Struggle its potency. Coates charts the seemingly boundless optimism of his father’s generation and the rising cynicism of his and brother’s. He does so with a compassionate, poetic voice that is rooted in a no-bullshit grasp of his personal history and of American history over the past 60 years. To read this book is to catch a glimpse of the profound legacy and letdown of a generation raised to rebel but forced instead to fight disappointment, imprisonment, and despair. As Coates puts it, "The Knowledge Rule 2080: From maggots to men, the world is a corner bully. Better you knuckle up and go for yours than have to bow your head and tuck your chain."

Local Heroes

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Del Martin and Phyllis Lyon


Del Martin, left, and Phyllis Lyon
 

Del Martin and Phyllis Lyon have lived active lives — although “activist” would be the better word. One, the other, or both have been founding members of the Daughters of Bilitis, the Alice B. Toklas Democratic Club, the Council on Religion and the Homosexual, and Old Lesbians Organizing for Change. Martin, 87, was the first lesbian elected to a position in the National Organization for Women, where she was also the first to assert that lesbian issues are feminist issues. Lyon, 83, edited the Ladder, the first magazine in the United States devoted to lesbian issues. And together, it seems, there’s little they haven’t done, from coauthoring books to becoming the first gay couple in the nation to legally marry on Feb. 12, 2004, almost 50 years to the day they first became a couple.

Deemed void later that year, their marriage was reconstituted this June when the California Supreme Court ruled that same-sex marriage is, in fact, legal. Once again, Martin and Lyon were the first in line to tie the knot.

But gay marriage wasn’t the right they were fighting for when their relationship began back in 1954. “We had other, bigger issues. We didn’t have anything in the ’50s and ’60s,” Lyon recalls. “We were worried about getting a law passed to disallow people from getting fired or thrown out of their homes for being gay.”

Even something as simple as having a safe space to congregate was elusive. Before the mid-1950s, the only organizations that dealt with gay issues were run by and focused on men. So Martin and Lyon, along with a few other lesbian couples, founded the Daughters of Bilitis in 1955. “We would meet in homes, dance, and have drinks and so on, and not be subject to police raids, which were happening then in the gay and lesbian bars,” Lyon said. Those informal get-togethers eventually became the first lesbian organization with chapters nationwide.

They say their activism isn’t something that was sparked by their gender and sexuality, but came from being raised in politically conscious homes — Lyon in Tulsa, Okla., and Martin in San Francisco. When they met, working at the same company in Seattle, “both of us were already politically involved,” Lyon says.

“Really, ever since we were kids,” Martin adds. “You followed elections. You followed things like that. We wore buttons for Roosevelt. We couldn’t send money because we didn’t have any.”

“And then when we both moved in together, in San Francisco, the first thing we did was get involved with Adlai Stevenson,” Lyon says. They quickly got to know the major Democratic movers and shakers in the city, like the Burton family and later Nancy Pelosi, whom they would eventually turn to when there were gay issues that needed a push.

“We didn’t come out to everybody, but we came out to Nancy and the Burtons,” Lyon says.

These days age has tamped down the physically active part of their political activism, although they still donate money and were ardent Hillary Clinton supporters during this year’s Democratic primary race. They’re now backing Barack Obama over John McCain, though Martin expressed reservations. “I’m waiting to see how he handles the question about women and women’s rights. I’m not satisfied yet.”

Amanda Witherell

 

Local hero

Alicia Schwartz


Alicia Schwartz
 

Whether she’s demanding sit-down time with the mayor to discuss asbestos dust at Hunters Point Shipyard, offering to debate former 49ers president Carmen Policy over the need to develop 50 percent affordable housing in the Bayview, or doing the cha-cha slide on Third Street to publicize the grassroots Proposition F campaign, which fought the Lennar-financed multimillion-dollar Proposition G on the June ballot, Alicia Schwartz always bubbles with fierce enthusiasm.

“I absolutely love my job,” says Schwartz, who has been a community organizer with POWER (People Organized to Win Employment Rights) for four years.

Born and raised in Marin County, Schwartz graduated from the University of California, San Diego, with a degree in sociology and anthropology before returning to the Bay Area, where she is enrolled in San Francisco State University’s ethnic studies graduate program and works for the San Francisco–based POWER.

“It’s an amazing organization full of amazing people, united for a common vision, which is ending oppression and poverty for all,” says Schwartz. “In cities, the priorities are skewed to benefit folks who are wealthier and have more benefits. But the folks who keep the city running are not recognized or are suppressed.”

Prop. F wasn’t Schwartz’s first campaign experience. She had previously organized for reproductive justice, for access to health care and sexual-health education, and against the prison-industrial complex.

But it was the most inspirational campaign she’s seen so far.

“I saw the Bayview transformed,” Schwartz explains. “I saw people who’d lost faith in politicians come to the forefront and fight for the future. And I saw people across the city rallying in support, too.”

Schwartz acknowledges that Prop. F didn’t win numerically.

“But practically and morally, and in terms of a broader vision, Prop. F advanced the conversation about the future of San Francisco, about its working-class and black future,” Schwartz says. “Clearly, that fight isn’t over. It’s just beginning.”

Schwartz says she believes that the other success of Prop. F is that it raised the question of who runs our cities.

“And I think it was a huge victory, even being able to accomplish running a grassroots campaign, with no money whatsoever and where we had to up the ante, in terms of getting to know some of the political establishment.”

Most of all, Schwartz says she appreciated being able to work with people who hadn’t been part of POWER.

“And I appreciated being able to advance a set of demands that a broad range of people could support, while keeping the Bayview and its residents at the forefront,” she says.

While that particular campaign may be over, the battle for Bayview–Hunters Point continues on many fronts, says Schwartz.

“Are we going to allow it to be run by developers who don’t have our best interests at heart and who fool us with payouts and false promises?” she asks. “Are we going to allow San Francisco to become a place where people can’t afford to live, but surely have to come to work?”

Amanda Witherell

Local hero

James Carey, Daniel Harder, and Jeff Rosendale


From left, Daniel Harder, James Carey, and
Jeff Rosendale
 

It would be unfair to give any one person credit for stopping the state’s foolish plan to aerially spray synthetic pheromones to eradicate the light brown apple moth (LBAM). Thousands were involved in that struggle.

But there are at least three individuals we can think of who successfully fought the state with science, a tool that too often is used to dupe, not enlighten, the public.

They are James Carey, a University of California, Davis, entomology professor; Daniel Harder, botanist and executive director of the UC Santa Cruz Arboretum; and Jeff Rosendale, a grower and horticulturalist who runs a nursery in Soquel.

Together and separately, this trio used experience, field observation, and fact-finding tours to make the case that the California Department of Food and Agriculture (CDFA) would court disaster, in terms of lost time, money, and public goodwill, if it went ahead with the spraying.

And they did so at a time when UC, as an institution, remained silent on the matter.

“I felt like I needed to do this. No one was stepping up from a position of entomological knowledge,” says Carey, whose prior work on an advisory panel working with state agencies fighting the Mediterranean fruit fly between 1987 and 1994 led him to speak out when the state sprayed Monterey and Santa Cruz counties last fall.

Carey says the signatures of two UC Davis colleagues, Frank Zalom and Bruce Hammock, on a May 28 letter to the US Department of Agriculture also helped.

“All of us are senior and highly credentialed scientists,” Carey notes, “so our letter was taken really seriously by the agriculture industry.”

Rosendale and Harder had taken a fact-finding tour last December to New Zealand, which has harbored this leaf-rolling Australian bug for more than a century, to find out firsthand just how big of a problem the moth really is.

“We wanted to get the best information about how they were dealing with it, and what it was or wasn’t doing,” Rosendale recalls. What he and Harder discovered was that New Zealand had tried using organophosphates, toxic pesticides, against the moths — but the chemicals killed all insects in the orchards, including beneficial ones that stopped parasites.

“When they stopped using organophosphates, the food chain took care of the LBAM,” Rosendale says.

Like Carey and Rosendale, Harder believes that the state’s recently announced plan to use sterile moths instead of pesticides is a lost cause. He says it’s impossible to eradicate LBAM at this point because the pest is already too widespread.

“It’s not going to work, and it’s not necessary,” Harder says.

And now, Glen Chase, a professor of systems management specializing in environmental economics and statistics, says that the CDFA is falsely claiming that the moth is an emergency so it can steal hundreds of millions from taxpayer emergency funds.

“The widespread population of the moth in California and the specific population densities of the moth, when analyzed with real science and statistics, dictate that the moth has been in California for at least 30 to 50 years,” states Chase in a July 15 press release.

The state has put spraying urban areas on hold, but the battle isn’t over — and the scientists who have gone out on a limb to inform the public are still on the case.

Sarah Phelan

 

Local hero

Queer Youth Organizing Project


From left, Fred Sherburn-Zimmer,
Josue Arguelles, Jane Martin, Vivian Crocket,
Justin Zarrett Blake,
Joseles de la Cruz, and Abel-Diego Romero
 

The queer-labor alliance Pride at Work, a constituent group of the AFL-CIO, added a youth brigade last year, and it’s been doing some of the most inspired organizing and advocacy in San Francisco. The Queer Youth Organizing Project can marshal dozens of teen and twentysomething activists with a strong sense of both style and social justice for its events and causes.

Founded in March 2007, QYOP has already made a big impact on San Francisco’s political scene, reviving the edgy and indignant struggle for liberation that had all but died out in the aging queer movement. Pride at Work has also been rejuvenated and challenged by QYOP’s youthful enthusiasm.

“It really is building the next generation of leaders in the queer community, and man, are they kick-ass,” says Robert Haaland, a key figure in both Service Employees International Union Local 1021 and Pride at Work. “Pride at Work is now a whole different organization.”

QYOP turned out hundreds of tenants for recent midday City Hall hearings looking at the hardball tactics of CitiApartments managers, an impressive feat that helped city officials and the general public gain a better understanding of the controversial landlord.

“They have a strong focus on tenant issues and have done good work on Prop. 98 and some tenant harassment legislation we’ve been working on,” says Ted Gullickson, director of the San Francisco Tenants Union. “They really round out the coalition between tenants and labor. They do awesome work.”

In addition to the energy and numbers QYOP brought to the campaign against the anti–rent control measure Prop. 98, the group joined the No Borders encampment at the Mexican border in support of immigrant rights and turned a protest against the Human Rights Campaign (which angered some local queers for supporting a workplace rights bill that excluded transgenders) into a combination of pointed protest and fun party outside the targeted group’s annual gala dinner.

“It’s probably some of the most interesting community organizing I’ve seen in San Francisco,” Haaland says. “It’s really made a difference in our capacity to do the work.”

As an added bonus in this essentially one-party town, QYOP is reaching young activists using mechanisms outside the traditional Democratic Party structures, an important feature for radicalized young people who are wary of partisan paradigms. And its members perhaps bring an even stronger political perspective than their Party brethren, circulating reading lists of inspiring thinkers to hone their messages.

Haaland says QYOP has reenergized him as an activist and organizer: “They’re teaching me, and it’s grounding me as an activist in a way I haven’t been for a long time.”

Steven T. Jones

Speed Reading

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FASHION: A PHILOSOPHY

By Lars Svendsen

Reaktion Books

188 pages

$24.95

As a once and future dandy, I’ve noted the growing field of fashion philosophy. In the realm of the academy, the idea of a unified theory of style has become something of a holy grail. The latest knight-errant, Lars Svendsen, associate professor of philosophy at the University of Bergen in Norway, starts his quest by seeking the meaning of fashion.

Relying heavily on Immanuel Kant and Walter Benjamin, Svendsen (as translated by John Irons) creates a concise and comprehensive primer on fashion and clothing as it relates to identity. He then stitches on a virtual CliffsNotes of philosophy on fashion, citing Roland Barthes, Charles Baudelaire, and Michel Foucault, and then appliqués some hep quotes from Bret Easton Ellis, AbFab, and the Pet Shop Boys.

In the end, Svendsen finds that we cultivate surfaces, that we live in an increasingly fictionalized reality, and that our identities are in steady decline. He concludes that fashion is a highly diverse phenomenon that pretends to have meaning, but in reality "has meaning to only a limited extent." That’s it? Fashion has no meaning, but some meaning? How weak is that?

If philosophy wishes to find meaning in fashion, it must make room for the power of talisman, totem, and fetish — elements that pure reason cannot abide. Svendsen errs in a manner many fashion philosophers have, by refusing to look away from the runways of Europe toward the magical elements of dress in Africa, Asia, and South America. The eggheads just don’t get it.

Flight or write

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› a&eletters@sfbg.com

"The moment one learns English, complications set in," wrote Spanish ex-pat Felipe Alfau, in English, beginning his 1948 novel Chromos (first published in 1990). Learning English, he wrote, "far from increasing [one’s] understanding of life, if this were possible, only renders it hopelessly muddled and obscure." While this might be true of learning any new language — one starts to see how words simply refer to other words — we might say the same about literature. Are those of us who look to books for salvation making the simple needlessly complex? Orhan Pamuk claims that writing novels is just an "excuse to wrap myself up in new personas." Gregory Corso wrote of our relationship to books: "I, as though tipping a pitcher of milk / pour secrecy upon the dying page." Though not especially positive, both descriptions are sensual and alluring.

Katherine Silver’s thrilling translation of Horacio Castellanos Moya’s Senselessness (New Directions, 142 pages, $15.95), the first English appearance of any of the Salvadoran exile’s eight novels, brings out the physical effects of a different type of reading: the translation of human tragedy into words, and then back into life. It begins with the incantatory phrase, "I am not complete in the mind." The sentence comes from a report of transcribed Indian testimonies of survivors of a massacre in an unnamed country that resembles Guatemala. The alcoholic, sardonic, surprisingly compassionate narrator is editing this report as a freelance gig for the Catholic Church.

On the phone from her home in Berkeley, Silver admitted that when an editor first showed her 2004’s Insentatez (Tusquets Editores) at the Guadalajara International Book Fair, she was put off by the subject matter: "I looked at it very quickly and said, I don’t like violence. Then I read it on the airplane and said, ‘I want to do this.’ It’s not really about violence. It’s all ultimately about the intimacy of language and writing."

Despite being plagued by increasingly violent fantasies ("For I am not a total stranger to magical realism," the narrator says to explain a particularly brutal one in which a brain is split in half), he is finally brought back to earth not by the truths of the report but by a paranoid (and in the end, realistic) attention to the relationship of the report to the outside world. One sexual fantasy’s effect is simply to "stabilize" his mood. Later, overwhelmed with isolation, he goes outside to "howl like a sick animal under the star-studded sky." After this release, he is able to see the real danger approaching in the shadows.

Senselessness builds so seamlessly to an arresting finale that you will immediately read it again, attentive to how the language of the report infests the narrator’s language. Silver was lucky, she said, to be working with such a "careful" writer. "A translator is a very close reader," she said. "It’s kind of like looking at a book through a magnifying glass. But I never had to second-guess him. He wears well." As a result, the moment one starts reading Senselessness, complications set in — complications we cannot live without.

Catlady

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› le_chicken_farmer@yahoo.com

CHEAP EATS Every year the feral cat no one can catch has a litter of kittens and one of them winds up knocking on my door, so to speak, saying, "Well? Am I cute, or what?" And before I can answer — answering rhetorical questions being one of my favorite pastimes — the little outcast (who is of course the very definition of cuteness), falls into a feigned faint on account of starvation, obliging me to go get milk.

Now, I’ve listened to plenty of bluegrass music in my day. Between mandolin and fiddle solos I have absorbed the important lessons of the frozen girl, the paperboy, and others like them. Orphaned outcasts require bowls of milk, a crust of bread, and/or blankets, or else they will be dead on your doorstep come morning.

And nobody wants that, except maybe music publishers. I myself am not a moral, nor even an ethical, person. If I live by a code, it’s my own, and it’s odd, idiosyncratic, and inconsistent. Nevertheless, mercy for those less fortunate than myself, provided they show up on my doorstep no later than the second verse, starving or freezing, and preferably with a slight wobble, the back of their hand to the forehead … this is programmed into my cells as surely as one, four, five.

Plus: kittens are cute. They just are. Case closed. And I say this at the risk of offending a large portion of my readership, Rube Roy Perrotta, a.k.a. Shortribs Mosel, my old-time barbecue and buffet podner back in Ohio. He hates when I write about children and bunnies and shit. Speaking of which, there will also be fallout from the four or five people who have written, over the years, in support of Poo Poo Pride Month.

Which this is.

I’m sorry. I still listen to punk rock. I still like to look at, talk about, and journalistically record my scatological masterpieces. It’s just that I have also come to be an unabashed appreciator of cuteness. Sensing that, kittens come to my door.

I can tell that this will be the defining challenge of the second half of my life: how to die without first becoming a cat lady. All the elements are in place: aloneness, eccentricity, poverty, slanty one-room shack in the woods, disorderliness of mind, unrefined tastes, shortness of grace, pretty big bluegrass collection, and a weird, open heart.

Against that mountain of impending insurmountability, there stands one ally in my corner, and it is, ironically, a cat. My cat. Weirdo the Cat, whose legendary disdain for all carbon-based life forms, even orphans, is most vehemently expressed when the life form looks a little like her. As long as I have Weirdo the Cat, I reckon, I am absolutely protected from catladyhood.

Weirdo is 14 or 15. That means she likely will only live, I realize, for another 15, 20 years tops. Yes, I know that’s twice as long as cats generally live, but I’m factoring in her supernatural capacity for cantankerousness and tenacity. Some people are just too frickin’ pissed off all the time to die, and Weirdo the Cat, believe me, is one of those people.

How lucky is that? Without any question of me taking in one or 10 of these adorable outcasts my big-hearted self, I can get on the phone and start making calls. I know a lot of people with kids. I know a lot of musicians who know a lot of bluegrass songs. I know a lot of bighearted people without Weirdo the Cat in their corner.

Ate a lot of salad last night, as always, with my chicken soup, which had even more vegetables in it. Peas, celery, carrots. I ate a mango. Popcorn goes good with books, too, then a midnight bowl of Flakes & Flax cereal. For breakfast: oatmeal with sunflower seeds, strawberries, and blueberries.

Coffee.

Do you, like me, like balance? Don’t you wish this cute column came with a picture? Do you? Close your eyes.

———————————————————————–

My new favorite restaurant is Pho Hoa Lao #2. You know how I know? Because I ate there! Big, bright, empty place. The service is terrible, especially considering that there was no one else to serve. But the imperial rolls were pretty good, and both bowls of soup — the rare beef and beefball pho and the chicken soup — were very good. And it’s cheap, so …

PHO HOA LAO #2

333 10th St., Oakl.

(510) 763-8296

Daily, 8 a.m.–8 p.m.

No alcohol

Credit cards not accepted

Dirty girl!

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› andrea@altsexcolumn.com

Dear Andrea:

My girlfriend is into degradation during sex. It turns me on too, so I’m not worried about damaging our great relationship. I would like to explore more but am not sure where/how to start. Is there somewhere I can learn to be more degrading to my girl?

Love,

Earnest Student

Dear Earnest:

Heh. It’s not easy being mean, is it? People who enjoy abusing the comparatively powerless require no instruction on how better to be beastly. There are no books, for instance, on being rude to your waiter, or dog-kicking for fun and profit. Sadly, though, while recreational malevolence may not come easily to the naturally nice, no one has yet noted and attempted to fill the obvious market niche. There are classes and books on dominance and submission (you should attend or buy some) and quite a few on how to talk dirty, but none dedicated to lists of synonyms for bitch and whore or handy degradation scripts you can print out and tape to the wall behind the bed.

If what you’re looking for is vocab homework, you could try some of the abundant movies and stories out there in which one person degrades the other viciously but all in good fun. Why not rent some DVDs or surf the Web for ideas? It does occur to me, though, that if your girlfriend has watched or read the same stuff, she may recognize your cribbed dialogue and end up laughing at you. Nothing breaks the mood like your sub helplessly giggling at your attempts to be brutal. All you really need, anyway, is to work on your attitude. It doesn’t much matter if you call her "squealing little slut-pig" or "daddy’s little cum bucket" or whatever; it’s all in the delivery. You will gain confidence with practice, and if it’s working for her, she won’t be rating you on the originality of your epithets.

Love,

Andrea

Dear Andrea:

I’ve yet to come across something in your column similar to what I recently experienced (and was grossed out by), and I’m wondering what makes certain people desire what they do.

Several months ago I went out with a good-looking guy I’d met before. I was in the mood, so we ended up at his place for sex. The foreplay was great, and I was getting into it. While I was straddling his face as he performed cunnilingus, he suddenly asked me if I would defecate (not his word) on his face. He seemed to get excited after he said it but did not take note of my reaction and tried to put his mouth over my anal area. I had to get out of there right away.

I don’t remember what I said exactly, but I was dressed and gone in less than five minutes, I think. Have you heard of this desire, and how prevalent do you think it is? What could possibly cause someone to want that? Maybe I don’t want to know.

Love,

Don’t Tell Me!

Dear Don’t:

I don’t know where you’ve been looking (I most certainly have written about it before), but if you’d entered "scat" into Google (on second thought, do not enter "scat" into Google), you would’ve been deluged with information, far more information than you could possibly have wanted.

Oddly, the answer to the question why people "want that" won’t be found in the above-mentioned deluge, because nobody actually knows. Most attempted explanations will say something about flouting taboos or being dirty (there’s nothing dirtier, really, is there?) or perhaps rebellion against the tyranny of toilet-training. These sound good, but you don’t have to be very clever to imagine that the desire to play with shit has something to do with bad toilet-training, do you? Doesn’t mean it’s true.

All we know for sure is that there are (some, few) people who fantasize about playing with shit and (some, fewer) people who actually do it. Most of those who only fantasize have no wish to follow through, but I’ll also wager that inability to find a willing partner keeps some in the fantasy-only camp. If one of them wrote me (oh, they have, they have) wondering how to broach the subject with a would-be partner, I’d probably say, "Whatever you do, don’t do what Don’t Tell Me’s date did." It’s hard to imagine a clumsier approach than blurting out "Shit on me!" in the midst of passion, without so much as a "by your leave." Well, actually shitting on a person, all spontaneous-like, would be worse, but let’s not even speak of that.

I don’t think that someone having a disgusting desire is in and of itself so terrible. One can always say, "No, thank you" and no harm done, after all. Not realizing that most young ladies won’t take kindly to such a demand, however, demonstrates such a profound emotional tone deafness that I really must wonder about your new boyfriend. Or rather, your ex–new boyfriend. Spontaneity is nice, but some subjects require a more formal introduction.

Love,
Andrea

Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

Editor’s note: This column originally ran on Dec. 28, 2004.

In the court of Charlemagne Palestine

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charlemagne.jpg


Charlemagne Palestine
From Etudes to Cataclysms
(Sub Rosa)

By Erik Morse

Charlemagne Palestine (real name: Chaim Moshe Tzadik Palestine) has long been an unrecognized co-star in the avant-celebrity tradition of minimalism. Born in Brooklyn and working alongside his more famous brethren for decades, Palestine blends entrancing keyboard intervals with stylized performance and mythmaking. In his newest two-CD collection of compositions, From Etudes to Cataclysms, the musician gets second billing to the unique piano he plays.

Christened the Borgato by its eponymous inventor, a musician from Padua, the instrument consists of two grand piano bodies, constructed vertically, with the first containing all 88 keys and sitting at normal playing height while the second contains only the lower 37 notes and rests near the feet. Having previously learned to perform on the carillon, a medieval bell instrument played with the fists and feet, Palestine was reportedly eager to test his dexterity on the mutant machine. Recorded over three days at the Church of Saint Apollinare Monticello in Lonigo, Italy, the end product is a 140 minute tour de force of mindful possibilities and mindless boredom.

The first disc (“Etudes”) consists almost entirely of Palestine’s exercises with repetition and formality as he builds enormous ghostly overtones from long periods of high- and low-end trilling. From the opening “super high tones” to the closing “tritone octave ½”, there is an ongoing struggle, in both performance and perception, between obscure mathematical process and arcane artistic license. The tension builds further and further as the individual notes blur into less delineated “clusters” of sound without harmonic resolution. Drones, secreted beneath the surface sounds, phase in and out with a spectral menace.

As with most extended minimalist compositions, there are various levels of intention and thus appreciation simultaneously at work. While the abstractionist and musicologist might luxuriate in so-called “microtonal” resonances spiriting between the Western intervals of the piano, casual listeners may simply gape at Palestine’s superhuman playing endurance. Regardless, the listener hangs on to this sonic maelstrom half in suspense and half in stupor. The hypnotic effect is not very different from that produced by LaMonte Young’s The Well Tuned Piano (Gramavision, 1988) or the film soundtracks of Ligeti or Donaggio. And most of the pieces do have a strong kinaesthetic component to them, eschewing the aural for a chimerical cinematography.

The second disc exudes similar hypnomonotony but the pianist’s trills reside more on the lower end as he seems to take full advantage of the “bass” piano at his feet. In “Cataclisma 2” and “Cataclisma 3,” the use of tension and resolution is particularly effective, again invoking the nocturnal soundtrack moods of Eyes Wide Shut or any of a dozen “metaphysical” crime films. By “Cataclisma 4,” a behemoth piece clocking in at nearly 20 minutes, the divisions between tracks seem arbitrary or beyond a dilettante’s comprehension. Unfortunately, the recording fails to present the overall image of a Charlemagne Palestine recital, where the performer in question often surrounds himself with stuffed teddy bears, books, and aged cognac. Such knick-knacks probably connote a humor and playfulness that is sorely missing in the heavy intellectual conceits of From Etudes to Cataclysms. Nonetheless, for followers of the current avant-garde, the work of this renegade pianist has few equals.

Cody’s closes, itty bitty book light in heaven goes out

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So, alas, storied 50+-year-old Berkeley bookstore Cody’s, firebombed in the ’80s for displaying Salman Rushdie’s Satanic Verses, has closed rather abruptly due to flagging sales. I’m not going to go into the ironic narrative possibilities here — Rushdie was just in town this week to give a rare reading, and, like, where were the ubiquitous Berkeley treesitters protesting a legendary bookstore’s closure? Nor will this turn into another apocalyptic lecture on how the Internet is killing independent bookstores. I still retain vast hope that some can and will survive. Go shop a freakin’ independent bookstore, already! They’re awesome.

codyscloses.jpg
Photo from SFGate

Still, this news is pretty awful. The loss of a bookstore, to me, a complete ga-ga book hound and former indie bookstore manager, is a physical wound. If Amazon closed tomorrow, I’d miss nothing, remember vaguely. But I’ll always fondly recall the way the morning sun shone a certain way through Cody’s political books aisles and, a romantic Midwest native, thinking, “Cool. I’m in Berkeley, browsing through political books in the morning.”

Yes, there were some quality issues after the store moved from its original Telegraph location to Shattuck a little while ago. And sure, it could have concentrated more on used and antiquarian book sales, the last line of many indie booksellers’ defense. But, dudes, Cody’s closed. That’s kind of freaky. I’ll miss it.

Editor’s Notes

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› tredmond@sfbg.com

Ask any elected Democrat in San Francisco about the governor’s budget, and you’ll get an instant answer: it’s awful. It’s brutal. It sucks. Education, housing, the environment … everything we care about is being gutted because the governor and the Republicans in Sacramento won’t raise taxes.

Which is absolutely correct.

Now ask those same Democrats what they think about Mayor Gavin Newsom’s budget. In too many cases, the answer’s a little slower, and a little softer. Gee, it’s too bad that the economy, and Washington and Sacramento and all of these other forces out of our control leave us no choice but to tighten our belts and do things that none of us really wants to do. Gee, Gavin doesn’t like cutting either, but he has to balance the books. Gee, it’s certainly not the mayor’s fault.

Which is absolutely wrong.

The governor of California is not the only chief executive who can look for revenue solutions to a budget shortfall. The mayor of San Francisco can do that too. In fact, Newsom wouldn’t have to look far: Supervisor Aaron Peskin has introduced two measures that together could bring in a minimum of $30 million per year and, in good years, $80 million or more. That’s about a quarter of the budget deficit, enough to save a whole lot of city services, city jobs, and city resources for the needy.

Both tax measures are aimed at the wealthier end of the spectrum. One would raise the transfer tax on real estate sales of more than $2 million. Few first-time homebuyers would see any impact at all, and the ones who do … well, if you can afford a $2 million house, you can pay a reasonable transfer tax. The biggest revenue would come from major downtown commercial property sales: when the Bank of America Building is sold for $1 billion, none of the investors are paupers and the corporations, real estate investment trusts, and financiers involved have all done quite well under the George W. Bush administration’s tax cuts. This is, for the most part, a tax on the rich.

The second measure would eliminate a loophole in the business tax law that allows some partnerships, like law firms, to avoid payroll taxes. See, if you’re a partner in a firm and you earn "profits" in the form of a partnership payout as opposed to a "salary," then the money you make doesn’t get taxed by the city. Most of these outfits are big firms that can afford to pay the city’s business tax. It’s only fair: companies that don’t operate on the partnership model have to pay taxes, and so should everyone else.

The two measures need a vote of the people, and passing any tax is hard. It would help immensely if the mayor endorsed these progressive taxes — and I guarantee that if a Democratic legislator in Sacramento introduced a statewide tax bill hitting the exact same group of people for the exact same amount of money, Newsom and all his Democratic allies would support it (and if the governor vetoed the bill, those same Democrats would denounce him).

The measures would take effect in the middle of the next budget year, and the income could make Newsom’s river of red ink a good bit smaller. He could, in theory, endorse the measures, work for them, and include the revenue in his proposed budget. But so far Peskin hasn’t heard a word from Newsom’s office on this. Neither have I.

Gavin? Hello? *