News & Updates 1/18/2020

 

Winter Blues won’t slow me down and the novel continues to be written, but let’s take a break from that to post about something I’m really excited about.

This coming week, Police In The Wilderness will be released. Police In The Wilderness is a collection of plays by Cameron Christopher Stuart that I worked closely with the author over several late fall and early winter months to publish. The book features two versions of the same play written and revisited along with various dramatic stagings by Saints of an Unnamed Country over a ten year period, creating an experience to fully absorb the psychedelic audacity of this wild expose on the human wilderness. With themes of climate change, life in a dystopian police state, and mind-altering philosophical dialectics on the birth and death of poetic meaning, this collection could’ve chosen no better time to make its grand entrance into our collective consciousness.

Cameron and I worked together to make this release something special, complete with photos from previous performances, endnotes to give the reader some extended reading to explore, and illustrations by the virtuoso Stephanie Beattie.

Copies will be included with tickets to the live staging of Police In The Wilderness at Patch Works in Brooklyn, NY during its 5 show run from January 22-25, 2020 as part of The Exponential Festival.

Read an interview about the play here: http://bit.ly/2sn31mn
Link to get your tickets is here: https://policeinthewilderness.brownpapertickets.com/

 

News & Updates 1/18/2020

Updates for the forthcoming novel

Writing a novel has been really good for all of my other chores. I find a million and one excuses to keep me from actually sitting down and writing it. Today it was folding my laundry, fixing my bike, shoveling snow, taking a shower, and oh wow! now it’s already time for dinner. Yesterday and the day before I rearranged my room and set up my bookshelf. I even went to a Walt Whitman-inspired open mic and ended up winning runner up in a competition for $100 to see who had the best Whitman-inspired piece of poetry.

That piece was written on the same road trip that this novel is about. We started the trip reciting passages from Leaves Of Grass in the voices that Kerouac and Cassady must have used when they were traveling on the road together back in the days when the Beats were still learning how to rhyme. Eventually we were writing pieces in the same style and one of them that I read last night was judged as second best in a room of Whitman scholars.

The piece is a list of all the cows I saw on the road from here in Philadelphia all the way to San Francisco and back again. A play on the pastoral, set in every type of landscape both urban and otherworldly you can see in this country. Using this nation’s top industry to describe the beauty that these bovine often cause environmental havoc upon.

I guess for me, what stuck out about Walt Whitman is the sense that he’s always making lists. Listing the tiniest details about an odd assortment of working class people and their environment to create a collage of the industrial revolution he witnessed in his lifetime in America. He talked about both the positives and the negatives but let them speak for themselves. And in a sense there was romance in all of the things that he saw, even if some of them were terrible.

The cow piece was a fun piece to write. I had fun having a chance to let it be heard out loud. Didn’t expect much in the way of competition so was happily surprised with its reception.

Anyway, back to the novel…I think it’s a good one. I want to share it with you before it’s published. Open it up to a dialogue. Let you read the pages I’m really proud of.

Like the chapter I wrote last week about Yosemite Valley. I just read it again this afternoon. About ten or fifteen times. That’s another thing I do while writing this novel. Get hung up on chapters that I’m really proud of and then second guess myself that I’ll ever be able to write something as good again. Forget that there’s been plenty of bad novels published that have still been enjoyed by someone. The trick is to just finish them.

So yeah, I’m still writing. Today I’m starting a little later than I would’ve liked to and that’s okay because it’s a miserable winter day outside and I took care of all my other errands that were bogging me down. I’ll keep sharing my progress as it comes.

If you’d like to read the poetry about cows or that chapter about Yosemite Valley go take a look at my Patreon. You can throw me some doll hairs and read my writing. The support will motivate me to keep going on it. Maybe I can even finish it by the end of next month and get started on the next one. There are two novels in my head that have been sitting patiently while I finish writing this one. Anyway, I’d love you to see its pieces and to hear what y’all think. I have a feeling the campaign will be constantly evolving as well, so expect more announcements and other rewards to develop.

Thanks for everyone who’s taken a peek over there. I know there’s plenty of other things to support right now. Travel made me more humble and I’m content with however it all turns out, but think it’s fun to share the process.

Become a patron: http://www.patreon.com/marshalljameskavanaugh

Updates for the forthcoming novel

Haiku #1021


Over the last few weeks, I’ve been playing around with old haikus. Here is a haiku I wrote while hiking in the redwoods last January.

If you like what you see here, become a patron!
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You can subscribe to access more content like this, as well as see snippets of my forthcoming novel.
Only $1 a month and you too can #TravelByHaiku! Any support will really help me out this winter.

Let me know what you think in the comments. Feel free to SHARE with other haiku lovers if you think they’d dig.

Haiku #1021

POEMS FOR THE PIGS

I jump into the fray again. This time unintentionally. When I show up to Santa Fe, I find out the republican governors from all over the country are meeting at the conference center to discuss conservative policy. Somehow I didn’t get the memo. There are protestors on every street corner. But it’s nothing like Philly in 2017 when the GOP showed up a week after the inauguration.

We protested for over a week, with snake marches leading to organized marches, leading to dance parties, leading to tens of thousands of people surrounding the hotel all those pigs were hiding in. Inside, the traitor in chief probably told everyone that his supporters had come to celebrate his victory, but outside the energy was livid. The marches didn’t really lead anywhere, but that was the beginning of so many activist groups finding alliances in the streets. It was a time to see each other and find hope in the multitudes that love was still possible even in tyranny.

In Santa Fe, things are a little more low key. Mostly Women’s Marchers sans pussy hats holding signs that outline that Santa Fe is a sanctuary city and accepts refugees. No action, but frankly, it’s just exciting to see so many signs walking through the streets, mixed in with the usual amount of summer tourists, heading towards relieving a group who’s held a corner for a few hours or stopping to take a bathroom break. The retired mothers of the city taking their time off to push through some progressive messages to the backwards Man, himself.

They stand outside the El Dorado hotel picketing the buses full of governors’ aides that pull in. They stand outside the Cathedral of St Francis de Assisi catching the evangelicals who want to see architectural history. Anywhere where the buses drive through, they are there to greet them.

I set up my typewriter in the plaza next to a group doing a silent vigil for the children at the border separated from their families. They hold signs with simple mantras like “Free The Children” and “Everyone Welcome”. In front of them there are a dozen or more baby shoes. The symbols there are heavy.

Meanwhile, I write poems for children about dreams of mermaids and family road trips. The dialogue being translated through poetry. It doesn’t escape me how there’s no difference between these children who get to live out their freedom and the ones currently locked up in cages, maybe never seeing their parents again.

An afternoon turns to evening and I change my location several times, till I find my prime spot for the late night dinner crowd, and that’s when it happens. I’m not quite paying attention because there’s so much going on. But out of the corner of my eye, I see one of those huge busses pull over and a dozen or more suits get off of it. They are surrounded by police and secret service, who seemingly appear out of nowhere. Suddenly, the streets around me have been cleared.

It’s Mike Pence who stops and reads my Dream Poet For Hire sign. He’s chatting to Susana Martinez, who I guess is giving them all a tour of her state’s capital.

“Write a poem about me and my wife,” he says.

Obviously, I’m boiling over with malice, but I’m the Dream Poet and with my mask on I put on a good show entertaining his midwestern interest.

The poem writes itself, keys mumbling away. It talks about how love can’t be defined by time or place, age or gender. It’s a spark that speaks beyond the limits of our patriarchal understanding. Love thy brother, love the human race in all of its manifestations, love thy mother, love this planet and all the ways she holds us in nurture. Love is love is love and hate for the love between two men or two women or two people who choose not to define themselves within a binary does not erase the divine essence within that love, something that is so magical it inspires all of us to keep living through the madness.

I fill the page and read it back to him. His icy eyes look at me with a smile that says he knows I gonzoed him, dropping the bill in my case anyway, and slipping the poem in the breast pocket of his suit jacket. He moves over for the next one, which happens to be Governor Martinez.

“Write a poem about immigrants,” she says.

Again, I smile and put on extra airs. The poem coming full throttle. I write about the state of New Mexico still being a foreign country. How families are just moving between their ancestral homes. I write about the Pueblos. How this is their land and our borders hold no power. I write about the railroads, about the white settlers, about the slave owners. I write how an elected official in a state that is still Mexico, and before that stolen land, better reflect on who she represents. Amnesty for all refugees, I write. Open the borders.

There’s a silence after I read the poem and I think I’ve gone too far. But again, there it is the bills dropped and the poem stowed away somewhere safe.

Next it’s one of their aides.

“Oh, you write haiku, I see. Write a haiku about Washington DC.”

Sinkholes everywhere
the swamp sinking as it drains
swamp things go kerplunk.

Someone asks, “Are you related to Brett Kavanaugh?”

“No relation. The Kavanaugh’s are a proud clan of peacemakers. No way he’s really one of them.”

And then that’s it. They get bored and move on. And I’m left there wondering if it really was even them, or perhaps just another tour group of Texans.

POEMS FOR THE PIGS