Feeds:
Posts
Comments

Archive for the ‘Funny (ha ha)’ Category

Jonathan Franzen–”The Comfort Zone: Growing up with Charlie Brown” (New Yorker, November 29, 2004)

Posted in A Camp, Charles Schulz, Consumerism, Corporate skewering, Essays, Funny (ha ha), Funny (strange), History, New Yorker, Newspapers, NPR/PRI/PBS, The Cardigans, WFUV 90.7 FM--New York City on December 7, 2010| 1 Comment »

SOUNDTRACK: A CAMP-Studio Sessions on WFUV [available on NPR] (2009).

I rather enjoyed A Camp’s latest album Colonia.  I discovered this session while browsing through NPR’s archives.  There’s a pretty lengthy (and amusing) interview with the band and then they play three acoustic songs: “Love Has Left the Room,” “Stronger Than Jesus” and “I Signed the Line.”

Nina’s voice sounds fantstic, and in such a simple acoustic session it’s her voice that really sells the music.  But this is another instance where an acoustic, stripped down session reveals the strength of the songs themselves.  The album has a lot of production, but when it’s just bare bones guitar and bass, the melodies still hold up.  And again, Nina’s voice just soars through these meloides.  Anyone who got sick of The Cardigans needs to hear what Nina Persson can do in other settings.

Check it out here.

[READ: October 29, 2010] “The Comfort Zone”

The subtitle gives the foundation of the article: Franzen loved Peanuts when he was growing up.  This article was timed to coincide with the release of the awesome Fantagraphics collection of original Peanuts cartoons. I’ve only read the first of these Peanuts books, but it was really eye-opening and quite fascinating to see that such odd thoughts were published on a daily basis on the comic section!  And, I hate to sound curmudgeonly (that’s Charlie Brown’s job) but Franzen is right, the original Peanuts cartoons are far more existentially dark and satisfying than the fluffy Snoopy & Woodstock cartoons of the late 70s and 80s.

Anyhow, Franzen loved these early comics (and he makes a wonderful comment about spending a lot of time (probably age-inappropriate time) with talking animals: Snoopy, Narnia, A.A. Milne).   But as with all of these longer Franzen articles, it’s about much more than just Charlie Brown.   One night when he was a young boy, his older brother Tom had a huge fight with their parents and stormed out.   Franzen sets this up in the context of generation gap that was sweeping through the country in the late 60s/early 70s.

And it’s this unsettledness that also explains the popularity of the Peanuts cartoons. Despite all of the differences between generations, everyone agreed that they loved Peanuts (except for Franzen’s parents, evidently–his dad never read the funnies, and his mom only liked a strip called The Girls, which sounds like a prototype of Cathy).

The other angle that this article takes is about losers.  Charlie Brown was a loser, there’s no doubt.  But Franzen himself was a winner.  He was the king of spelling bees in his school. (This relates to Charlie Brown misspelling “maze” as MAYS, a perfect misspell for a sports fan).  And when a new kid comes to challenge him he steps up his game…and makes the kid cry.

This, of course, leads to guilt. Charlie Brown one said, “Everything I do makes me feel guilty.” And now Franzen feels guilty about the boy in his class, and about being mean to a frog as a kid and about the wash cloths at the bottom of the closet which don’t get used enough (Sarah and I have jokey guilt about that too) and even about the stuffed animals who don’t get cuddled enough. (more…)

Read Full Post »

Jonathan Franzen–“Two’s Company” (New Yorker, May 23, 2005)

Posted in Books about writers, Cee-Lo Green, Funny (ha ha), Gnarls Barkley, Jonathan Franzen, Marriage (Happy), Marriage Trouble, New Yorker, Romance, Short Story on December 1, 2010| Leave a Comment »

SOUNDTRACK: CEE-LO GREEN-“Fuck You” (2010).

Like the entire world, I am in love with this song.  I have long postulated that songs with cursing in the chorus are almost by definition catchier than songs that have none.   And this song is one of the most catchy fucking songs ever.   (I of course admit that the censored radio version “Forget You” is equally as catchy but we can’t forget that the curse version came first).

I have listened to this song dozens of times now and I simply haven’t grown tired of it.  It has a simple construction with an interesting descending musical motif and a killer killer hook.  But of course the key is Cee-Lo’s voice.  I first heard him with Gnarls Barkley and I considered getting some of his solo stuff based on the amazingness of his voice.  (I never got a round to it).  And now this song has pretty well solidified him in my esteem.(Actually his appearance on The Colbert Report where he sang Fox News in the chorus was the real solidification for me.

This song transcends genre (it’s played all the time on an alt rock station by me).  And I think that’s why it is so appealing and such a big hit.  And now I’m going to be whistling the chorus for the rest of the day.

[READ: November 20, 2010] “Two’s Company”

This story follows Franzens “Breakup Stories” rather nicely because it too is about a breakup.  This time, though, the story itself is much longer than the others (4 whole pages!).

The story is about Pam and Paul, a couple who married young and were immediately successful as TV scriptwriters.  They worked together, created memorable sitcoms and owned a company whose logo shows their names with a heart between them.

But as they settle into greater success they begin to look for something slightly different to occupy them.  I love that they said Paul stopped appearing in public because he had trouble “remembering whether the ‘O’ in ‘Michael Ovitz was long or short.”  And their public persona, just like their logo, shows them to be perfectly content and in love.  Of course, as seems inevitable, some cracks begin to surface in their perfect facade.

They are to cowrite a movie.  He has always be the more highbrow of the two (and usually gets the bigger laughs), but it is her common, even cliched, sensibility that makes all the money.   And Pam more or less takes the reins of the screenplay, writing about a couple who is perfectly happy together (the husband doesn’t even glance at the hot women that his friends are constantly ogling).  Paul feels that the story is supposed to be about them, and he starts to resent her.  He thinks her script idea is crap (a bland comedy for older ladies) and he begins to think that Pam is less attractive than she used to be.  The speed with which their partnership disintegrates is rather astonishing.

I enjoyed the story–Franzen has a great way with character.  Although I admit I was a little sad that the story went this way.  It would have been nice (like her purposed movie script) to see a couple who could work together, be successful and remain happy (I guess I’m a bland old lady).  But, as Paul seems to think, that’s just a fantasy.

Read Full Post »

Jonathan Franzen–“Breakup Stories” (New Yorker, November 8, 2004)

Posted in Accept, Eurovision, Flash Fiction, Funny (ha ha), Gwar, Jonathan Franzen, Lordi, Marriage Trouble, New Yorker, Short Story on November 30, 2010| 2 Comments »

SOUNDTRACK: LORDI-“Hard Rock Hallelujah” (2006).

When browsing the Wikipedia entry on Gwar, I learned that the Finnish band Lordi (of whom I’d never heard) won the 2006 Eurovision song contest with what is essentially a Gwar-lite stage show.

Unlike Gwar, this Lordi song is extremely catchy and easy to digest (as all Eurovision songs tend to be).  But like Gwar it is fairly heavy and the band are in outrageous costumes (think glam period Kiss with crazy death-monster masks on–how does he sing with all that crap on his face?).

The singer has quite the voice (he sing/speaks in a cookie monster style (but audible–a sort of radio-friendly version of cookie monster) but he also hits very high notes).  The song is an anthemic sing-along like many metal songs from the early 80s (although it’s also pretty heavy).  And, if you listen closely to the bridge it’s sounds a bit like Abba’s “Gimme Gimme Gimme”.  It’s pretty cheesy and that’s clearly why it won Eurovision, and yet I find that after listening to it twice, I was humming it all day.

It’s fun to hear the comments after the song (I wish the recording was longer), but even more amazing is that they won with 292 points (the highest victory ever).  I’m so delighted for them (and for Eurovision that this preposterousness won).

A recent interview sounds like they have gotten heavier than this in recent years (“Bite It Like a Bulldog” kind of sounds like Accept).

Good on ya Finland.

[READ: November 8, 2010] “Breakup Stories”

I’ve been reading a lot of Franzen’s non-fiction in the New Yorker, so it’s nice to get back to some of his fiction.  Because even though the non-fiction is great, the fiction shows how creative Franzen can be.

This piece is, as the title suggets, a series of breakup stories.  It’s really five vignettes about how various couples broke up.  There’s “our friend Danni” and “Danni’s college friend Stephen” and “Ron” and “Stephen’s cousin Peter” and “Peter’s friend Antonia.”  The “stories” come across mostly as character studies in bad behavior.

Danni’s husband can’t admit that he doesn’t want children (and he takes the cowardly way out, what a cad).  Stephen’s fiancée hates that he devotes so much of his time to helping nuns (that’ a funny story).  Ron is a serial monogamist.  He hits it big with an inheritance and tries to settle down, but when he finds out that he can’t, he loses more than the woman he stayed with for six whole months.  Peter cheats on his wife and tries to make the three of them have a “French-style family relationship.” (more…)

Read Full Post »

David Foster Wallace–Consider the Lobster (2005) [audiobook 2017–David Foster Wallace]

Posted in Book Reviews, Consumerism, David Foster Wallace, Essays, Funny (ha ha), Gourmet, Language, Lobster, Pornography, Premiere, Sex, Tennis, This American Life on November 29, 2010| Leave a Comment »

[LISTENED TO: November 18, 2010] Consider the Lobster

This was the final audio book that DFW read.  As with Brief Interviews, this is a collection of selected, unedited essays [actually it says “Text slightly edited for audio, with changes approved by the author.”  I don’t know these essays verbatim, but it seems like the changes simply acknowledge that this an audio essay and not a written one].

The only problem with the entire package is how few essays were selected.

I don’t know if it’s because this collection was recorded later and DFW felt more comfortable reading or because DFW had more fun reading these essays or that these essays lend themselves to more animated reading, but this collection is absolutely stellar.

The audio book includes

  • Consider the Lobster
  • The View from Mrs. Thompson’s
  • Big Red Son
  • How Tracy Austin Broke My Heart

and, sadly, that’s it.

Not included are (more…)

Read Full Post »

Colm Tóibín–“Christmas Pudding” (New Yorker, November 22, 2010)

Posted in Colm Tóibín, Essays, Funny (ha ha), Holidays, Irish Writer, New Yorker, Odd Future Wolf Gang Kill Them All, Sasha Frere-Jones on November 28, 2010| Leave a Comment »

SOUNDTRACK: TYLER THE CREATOR-“Bastard” & “AssMilk” (2010).

This is the third and final rapper from Odd Future that I’m going to listen to. In his New Yorker article, Sasha Frere-Jones mentions Tyler’s song “Bastard” as being noteworthy for its content (an anti-father screed).  It’s a somber song played over a rather nice but dark piano motif.  The song is about his father and the rest of the darkness in his life:  “I cut my wrists and play piano because I’m so depressed”  Woah.  It gets typically dark and violent (the whole group seems to relish in tales of violence and abuse of women and gays, which isn’t cool).  It’s a moving song but at 6 minutes, frankly this song is too long.

I picked a second song because I thought that “Bastard” was only 32 seconds long (the first video on YouTube that came up is an edited version which actually packs more of a wollop than the 6 minute version) so I found this other song whose title I thought was funny.

The song is certainly sillier and opens with “I’m not an asshole I just don’t give a fuck a lot.”  Inexplicably, at the one minute mark the song interrupts itself mid sentence.  There’s some kind of altercation and Tyler starts hitting some guy and demanding an apology.  The guy keeps saying sorry and eventually says uncle, and the song resumes.   The rest of the song degrades into more violence with yet another break in the music in which Tyler doth protest too much that “Woah, I’m not gay.”  I think maybe that’s too much life in the underground for me, and even though I think that Sash Frere-Jones is one of the best music journalists out there (his article about Pavement was exactly how I feel about them), I have to say I was a little less than impressed with this batch of suggestions.

After five songs in total from these guys, I need some good clean happy music.  Perhaps Cee-Lo’s “Fuck You.”  At least it’s not THAT mean-spirited.  Thus endeth my tour of underground rap.  Happy Thanksgiving weekend.

[READ: November 19, 2010] “Christmas Pudding”

Although I said Allegra Goodman’s story was the funniest, I’m going to change that and give the honor to Colm.  For a one page article, he really crams a lot of story in (and the ending is great).

As it opens, we learn that his family had the best Christmas Pudding in Enniscorthy.  His mother knew the chef at the Roche’s castle in town and she was given the recipe for the very pudding that the Roche’s ate.  (The Roches restored the Castle that was built by the Earl of Portsmouth and had a dungeon!  They were synonymous with wealth and fanciness).

This recipe (which came from America (hushed approval)) used butter instead of (I can’t even look as I type this) suet.  (As a person who leaves suet out for woodpeckers, I am revolted at the thought of this).  So yes, their pudding was awesome.

So what’s funny about this?  Well, that comes in the second half. (more…)

Read Full Post »

Allegra Goodman–“Linzer Torte” (New Yorker, November 22, 2010)

Posted in Allegra Goodman, Das Racist, Essays, Food, Funny (ha ha), New Yorker, Sasha Frere-Jones on November 25, 2010| Leave a Comment »

SOUNDTRACK: DAS RACIST-“You Oughta Know” (2010).

Since “Combination” was a such an odd and obvious novelty song I thought I’d try the other song by Das Racist that was mentioned in the New Yorker article.  “You Oughta Know” samples Billy Joel’s “Movin’ Out” extensively (and is the only music in the song).  I rather like the use of the sample, although it’s not really used very creatively.

I really don’t understand the “chorus” of the song in which the guys sing/mumble/mock the chorus of the Billy Joel song.  I mean, I understand the desire to mock Billy Joel, but I really just don’t “get” that aspect of the song.

The actual rap part is kind of interesting: “sick of arguing with white dudes on the internet” but the bulk of the song is taken up with the infernal nonsensical Billy Joel mocking.

I concede that I’m absolutely not the right audience for this band.

[READ: November 19, 2010] “Linzer Torte”

Of the five food-related articles in this issue, this one made me laugh the most.

Goodman explains that her mother was the cook in the family.  And she trucked no nonsense in the kitchen: no “little children sticking fingers into the bowl.”  As a result, Allegra never learned how to cook.

This worked out fine in her own family because both her husband and her oldest son were excellent cooks themselves.  But when her son went to college…she found herself eating only leftovers. (more…)

Read Full Post »

Jonathan Franzen–”Caught” (New Yorker, June 16 & 23, 2003)

Posted in Adventure, Books about writers, Essays, fIREHOSE, Funny (ha ha), Jonathan Franzen, Meat Puppets, Moody Blues, New Yorker, Pranks, Set at School on November 20, 2010| 1 Comment »

SOUNDTRACK: fIREHOSE-“fROMOHIO” (1989).

After the punk of The Minutemen, you wouldn’t expect the sound of fROMOHIO to come from Mike Watt and friends.  The opening song, “Riddle of the Eighties” is quite poppy, but with a countryish flair.  In fact, much of the beginning of the disc sounds not unlike the Meat Puppets–southwestern punk.  Track two, “In My Mind,” has a wonderful latin/Mexican feel to it (singer Ed Crawford has that whole southwestern vibe down quite well, even if they are from Pedro).

The disc also has what I’ve learned is that peculiar SST Records sound–almost nonexistent bass, despite what Watt is accomplishing.  Actually the bass is there, and it’s mixed fine but it’s much lower than you might expect for what they’re playing.

Even track three “Whisperin’ While Hollerin'” which is all about the bass (with cool blasts of guitar over the top) doesn’t have a lot of low end in it.  The bass sounds crisp and clear (which is good), just not very deep.  “Mas Cojones” is a weird one.  Funk bass with disco guitars over the top and some odd spoken word from Watt.

The highlight is “What Gets Heard,” a great funky fast bassline with angular guitars and vocals by Watt.  Near the end of the disc, “Some Things” is another solid song, really typical of this period: great bass, great guitar work and yet still a lot of punk.  And “Liberty for Our Friend” is a great folk singalong, and I dare you not to singalong by the end.

There’s also some fun, unexpected bits.  There’s a pretty acoustic guitar solo called, “Vastopol” and two (!) drum solos “Let the Drummer Have Some,” and the wonderfully titled, “‘Nuf That Shit, George.”

And its all packaged as really short songs (most around 2 minutes, with late songs running longer).  It’s a fun disc and a worthy addition to the SST catalog.

[READ: October 25, 2010] “Caught”

After the seriousness of “My Father’s Brain,” this true story about Franzen’s wicked days in high school was tremendously enjoyable, possibly one of my favorite pieces that I’ve read by him.

The piece opens with the incredibly tempting story about students successfully pranked their high school by managing to get a tire over the top of a 34-foot flagpole.  This sets in motion Franzen and friends’ attempts to do the same to their school’s 40 foot flagpole (there’s even a diagram or three!).  The story is exciting and filled with secretive plotting as they try so many different ways to get that tire over the top of the flagpole.

There’s a great bit of self-deprecation from Franzen.  He admits that although one of his friends was far more architecturally-minded, he himself was far more persuasive.  Ultimately, their gang put his “Devices” to work, which are universally decried as pieces of shit.

Although I assumed that the tale would focus only on their attempts at flag pole ringing, in fact the group undertook many pranks.  At first they called themselves U.N.C.L.E., but then they changed their name to the far more amusing (with an incredibly involved explanation) DIOTI.  DIOTI undertake several delicious pranks including removing the clappers from all of the bells in the school (and leaving a series of poems as  clues for where they are) and piling all of the classroom desks into one room.  (The “centrally located” comment and its resultant embrace by the school is simply wonderful). (more…)

Read Full Post »

Nathan Englander–”Peep Show” (New Yorker, July 26, 1999)

Posted in 20 Under 40, Cocteau Twins, Fears, Funny (ha ha), Funny (strange), Marriage (Happy), Marriage Trouble, Masturbation, Nathan Englander, New Yorker, Sex, Sharon Van Etten, Throwing Muses, Woody Allen on November 19, 2010| Leave a Comment »

SOUNDTRACK: SHARON VAN ETTEN-“Don’t Do It” (2010).

This song is available from NPR’s All Songs Considered.  I’d never heard of Sharon Van Etten before, so I didn’t know what to expect.  And this was a great way to learn about someone new (to me) and to find a song that I fell in love with.

This is a dreamy kind of track, sort of like later period Cocteau Twins, but less ethereal.  And I have to say on first listen I was really blown away because what starts as a simple song really blossoms into a full blow epic.

The song isn’t staggeringly original, by which I mean I can hear many precedents in the song (Throwing Muses, perhaps, but again, not as extreme).  And yet, she takes this template and really makes it shine in her own way.  This song is layered and textured with more depth of sound coming on each verse.  And it feels like by around the third minute or so, you’re totally caught up in the song.

On further listens, that effect is still there.  It’s very subtle, but really effective.  And I keep getting sucked right in.  I’ll definitely check out her full length, Epic.

[READ: October 20, 2010] “Peep Show”

This was the final story of the 1999 New Yorker 20 Under 40 collection that I read (there’s one more after this, but I read them out of order).  The excerpt in the main issue was intriguing but very short and the whole story blew my mind with its unexpected surrealism.

Allen Fein, a man with his shit together, trips over a curb on his way to Port Authority.  It throws off his stride and his whole day.   When he straightens up, he looks up to see a barker offering peep shows for 25 cents.  Fein had been to a peeps how once before as a teen, and he sort of thinks that his day is a mess anyhow, so why not.

When he goes in, things are not as the were when he was a kid.  In fact, the glass that usually keeps peeper from peepee is removed, and the first word that the woman says when the door goes up is “Touch.”  And Allen finds himself in a weird position, especially when he touches the woman and his erection won’t subside. (more…)

Read Full Post »

Matthew Klam–”Issues I Dealt with in Therapy” (New Yorker July 12, 1999)

Posted in 20 Under 40, All Songs Considered, Culture Shock, Funny (ha ha), Matthew Klam, New Yorker, Romance, Short Story, Tricky on November 17, 2010| Leave a Comment »

SOUNDTRACK: TRICKY-“Kingston Logic” (2010).

I really liked Tricky’s debut album Maxinquaye.  Although I felt he had somewhat diminishing returns after that.  Then he got into acting so I assumed his musical career was over.

Now he’s back with this album (although I see on allmusic that he has actually been releasing for quite some time, and had a “comeback” album in 2008).  This song, which you can hear on NPR, while still kind of angry, is less claustrophobic than his early stuff (which I liked, but it’s nice to see him coming out from under that).

The female vocalist that he employs on the song is fine–she raps more than sings, which is kind of a shame since Tricky usually picks women with great and interesting voices.  But since this “rap” seems more like another instrument than actual singing/lyrics, it works quite well as a sound collage.

The selling point of the song is the infectiously simple guitar line that repeats throughout.  There’s a lot of other things going on that keep the song very busy, including a spoken section by Tricky himself.  The whole song is not even 3 minutes long;  it comes in, does what it intends and then takes off.

The more I listen to the song that more I really like it and I’m going to have to check out the whole disc to see what else he does.  I miss the gorgeous vocals, but I’ll happily take more of this, too.

[READ: October, 20, 2010] “Issues I Dealt with in Therapy”

Matthew Klam is another of the 1999 New Yorker 20 Under 40 authors.  I enjoyed the excerpt of this story in the main issue, but I have to say I was rather surprised at how differently the  story turned out than I expected.

The protagonist of this story and his girlfriend are invited to a wedding on a fancy exclusive island (think Nantucket, although it is never stated).  He is a pretty average guy, but the guest list includes the Al Gore family as well as Madeline Albright and many other VIPs.  The island has been pretty much taken over for this wedding and it is clearly going to be a big deal.

The bulk of the story is a flashback which answers the question, “What was I doing here?”

The narrator and Bob (the soon-to-be husband) were in college together.  They were even roommates for a year.  Their friendship was kind of silly and superficial, but they formed a bond that lasted over the years.  Even though the narrator isn’t a VIP, he was still asked to be an usher (and to give a speech) at the wedding. (more…)

Read Full Post »

Jonathan Franzen–”The Failure” (New Yorker, July 5, 1999)

Posted in 20 Under 40, Blue Öyster Cult, Books about writers, Butthole Surfers, David Foster Wallace, fIREHOSE, Funny (ha ha), Jonathan Franzen, Language, New Yorker, Public Enemy, Punks, Short Story, Superchunk, Wire on November 14, 2010| Leave a Comment »

SOUNDTRACK: fIREHOSE-Live Totem Pole EP (1992).

Listening to Superchunk’s “Slack Motherfucker” reminded me that I knew a live version from somewhere else.  And, with a little help from the web, I remembered it was here.

fIREHOSE is Mike Watt’s post-Minutemen band, and they are a lot of fun (and even managed to get a major label deal before breaking up.  This (apparently really hard to find) EP is a great, weird collection of covers: Blue Oyster Cult’s “The Red and the Black”; Public Enemy’s “Sophisticated Bitch” (yes you read that right); The Butthole Surfer’s “Revolution (Part 2)” (with the repeated coda of “Garry Shandling, Garry Shandling”; Superchunk’s “Slack Motherfucker” and Wire’s “Mannequin”.  There’s two Watt-written songs, “What Gets Heard” (from fROMOHIO) and “Makin’ the Freeway” (from if’n).

The covers are universally solid.  The band sounds punky and kind of sloppy and fun (not so terribly virtuosic on the solos), and they bring an amazing vitality to these songs.  The Public Enemy song is probably the biggest surprise as it sounds fantastic in this rocking band set up (although the original rocks pretty hard too, frankly).  And “Slack” is possibly even faster and punkier than the original (it sounds awesome here).  Interestingly to me, “Mannequin” sounds completely like an SST track (which if you know the label will make sense and if you don’t, it won’t) even though it’s a Wire song (and not released on SST).

I’d always known that Watt was a mean bassist, but man, he is wild on this disc.  The runs and fills he puts in all over the disc are great.  “What Gets Heard” has some great slap bass and “Freeway” is one of Watt’s weird and delightful spoken rants with fantastic bass fills.

fIREHOSE may not have always been brilliant, but they had moments of awesomeness.

[READ: October 16, 2010] “The Failure”

This story is part of the 1999 New Yorkers‘ 20 Under 40 collection (it’s the first story that was not included in that issue).  Its also the first story by Franzen that I have read.

It’s tempting, since I’m in a David Foster Wallace mood, to think that DFW was some kind of inspiration for Franzen (they were friends, after all).  The opening of the story talks a bit about cruise ships.  And Wallace’s “Shipping Out” was published in Harper’s just a couple of years before this.  Having said that, aside from the fact that the protagonist’s parents are taking a cruise (and there’s some cruise-mocking), the story doesn’t have much else in common with the piece, so we’ll get past that.

The story was excerpted in the main 20 Under 40 issue (the first few paragraphs), and I was intrigued, although the excerpt didn’t really indicate where the story would go at all.

Chip is a midwestern guy who has moved to New York City. He has lost a teaching job (for a very bad reason) and is now trying to survive as a writer.  His parents are in town briefly because they are taking a cruise out of New York.  And as he updates his mother and father on what he’s been up to, the list of minor failures (the ones he admits to and doesn’t) grows and grows.  And it’s clear from his mother’s talk that she’s more than a little disappointed in his reality. (more…)

Read Full Post »

« Newer Posts - Older Posts »