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Saturday, August 23, 2008

Friday Night in Williamsburg: Michael Kupperman & "Tales Designed to Thrizzle" at Desert Island Comics


Last evening we went over to Desert Island, our favorite neighborhood comic book store just a hop, skip and jump from Dumbo Books HQ in Williamsburg to see Michael Kupperman and get a signed copy of his latest Tales Designed to Thrizzle. Issue #4 is every bit as good as all of Kupperman's other work in its straight-faced bizarro absurdity and certainly fulfills its claim to be "designed to get your family through its entire day" - unless, of course, your family lives on either Mercury or Venus, in which case you will probably want to purchase the artist's entire oeuvre.

We first discovered Kupperman years ago in the pages of The Believer, where his "Four Color Comics" was a welcome relief from the snark-free literary essays and reviews.

Not that Kupperman isn't literary. He's illustrated a number of projects for our friends at McSweeney's and is well-known for his work on Lemony Snicket's A Series of Unfortunate Events books.

Being both superannuated and pretentious, though, we're most impressed with his illustrations for Stepmother, a book by the master of metafiction, the legendary Robert Coover (with whom we were once honored to be in an anthology, Statements 2).

If you want a good introduction to Kupperman's work, select his lavish Snake 'n' Bacon's Cartoon Cabaret, featuring not only the eponymous film duo but also. . . oh, hell, we'll just cut and paste the Booklist review:
With a tip of the hat to visual punster Glen Baxter, Kupperman lampoons the absurdities of genre fiction, from the Hardy Boys to time-travel fantasies, and of TV series, from Bewitched to Biography. The stars of his mad cavalcade are Snake 'n' Bacon, a, er . . . , snake and a strip of bacon who have been movie stars since the 1930s. They turn up more often than any of Kupperman's other characters in this seeming graphic novel that has plenty of plots but far more recurrence than coherence. For instance, Pablo Picasso shows up several times, always irascible, always threatening to break some imagined antagonist into cubes, always speaking in a Chico Marx "Eye-talian" accent. Other repeaters include Cousin Grampa, Long John Silver, Tottie Tinkles, Roger Daltry, Mark Twain, and the Underpants-on-His-Head Man (a costumed crime fighter). Kupperman's figures resemble Baxter's stiff manikins, and his backdrops morph from realism to abstraction with the speed of those in George Herriman's Krazy Kat. Kupperman bears the banner of absurdist comix humor quixotically forward into the next millennium.


It is probably the only book of comics that made us laugh on at least ten separate pages. And trust us, we're so old and grumpy we're running for John McCain's old House seat in the September 2 Arizona Republican primary.

If only we could get Michael Kupperman to do our campaign posters. . . Well, having the new Tales Designed to Thrizzle is pleasure enough for now. We know a Desert Island where you can get the same fun.

Friday, August 22, 2008

Thursday Night in Coney Island/ Brighton Beach: Huey Lewis & The News at Asser Levy/Seaside Park


It was 7:40 p.m. when we got out of the F train at the West 8th Street/Aquarium station last night to see Huey Lewis and The News at the last Seaside Summer Concert of this 30th anniversary season. Due to teaching, we were unable to see earlier shows featuring our role model Brian Wilson as well as Liza Minelli (we know a secret about her and Desi Arnaz, Jr. - unless everyone else knows it by now), Peter Frampton (or, as one of our brothers used to call him, God), Smokey Robinson and others, and last Thursday's salsa concert was canceled due to the monsoon.

But we were thrilled to make it back to the old neighborhood. Now we didn't exactly live in Coney Island/Brighton Beach - the venue for the concerts, Asser Levy/Seaside Park, straddles the border between the neighborhoods - but many of our friends and relatives had apartments there, and we spent most of childhood, adolescence and twenties nearby in southeastern Brooklyn and we feel this is "home."

Also, though our seatmates had heavy-duty body art, they were all at least 20 years too old and 40 pounds too heavy to be hipsters. The audience for Huey Lewis was mostly baby boomers, with some Gen Xers and the cooler senior citizens of the Greatest Generation.

People under 30 who were not children were in short supply, and while we don't subscribe to the rule that you should never trust anyone under 30 - we'd had lunch with a 25yo friend at the Hummus Place on MacDougal Street just a few hours before and texted another before leaving Dumbo Books HQ in the evening - sometimes it's nice to leave the kids home.

After all, we're old enough to have known Marty Markowitz when he was a big macher in Brooklyn College student government - way more than the 30 years ago when Marty founded the Seaside Concert Series as little show at Midwood Field (where we suffered yearly humiliation by running last in P.S. 203 Field Day races back in the Kennedy administration) featuring unemployed local musicians (um, we know one who's now a real estate developer).

So we know Marty, in his signature white jacket - is it a sport coat or a dinner jacket? we've never figured that out - would go on for a while, introducing every Brooklyn pol he could, like City Councilmember David Yassky (running for controller along with 43 other Democrats) and State Senator Carl Krueger (again with the kvelling that Marty would make a great mayor, Carl? you must be angling to be sanitation commmish or something) and all the local business people, Seaside Concert sponsors, community activists (some of whom we recall from our days in the Walt Whitman Independent Democratic Club back in the early '70s). And he did.

But eventually - while we decided to spring for the five dollars to get one of the seats (lots were empty; maybe they should charge three dollars and more people would go for it rather than standing along the railing or sitting in benches on Surf or Seabreeze Avenues) - Paul Thorn, the "very special guest" (read: opening act) - came onstage. We could see him from where we were sitting but mostly watched him on the screen.

Paul Thorn, in case you don't know - Kris Kristofferson called him "the best-kept secret in the music business - is a Mississippian son of a Pentecostal preacher who twenty years ago famously fought the newly-middleweight Roberto Duran in Atlantic City and lasted 6 of 10 rounds in what the New York Times called a "keep-busy" match for Duran.

Since then, he's been one of the South's best singer/songwriters, performing music about love, loss, and trailer-park fornication.

Having spent a number of years in North Florida (i.e., Georgia) and months in Arkansas and Louisiana, we were glad to hear a good Southern accent for a change. We first heard Paul on the radio program we used to wake up to in Eureka Springs, the station where the DJ was mournful the morning of September 11: "They were Yankees, but they were our Yankees." (We couldn't quite get the signal for the Fayetteville NPR affiliate.)

So we like his stuff. As Huey Lewis says in this video, there ain't nothing not to like about Paul Thorn.

We were on a long line for the portable toilet during the intermission while Marty, guess what, talked more and introduced what seemed like every resident of Brighton 8th Court, but he wasn't so interminable that we were about to enter the pee-sanctorium when Huey Lewis and The News came on with "Heart of Rock & Roll."

Unlike Marty, our musical tastes didn't end with the Beatles, but we were close to 30 when we became aware of Huey Lewis via MTV, top-40 radio, and of course the classic hits "The Power of Love" and "Back in Time," from Back to the Future, which we saw at the 83rd Street Quad in one of our Upper West Side '80s summers.

As a respite from our endless self-referential rambling, we'd like to quote someone else at the concert, the prolific and perceptive Listmaker, who actually got to meet Huey, and his friend Jim, who took the pic that proves it:
The Coney Island show on Thursday night was great. He ended with a 1-2-3 punch of Back in Time, a slowed down Do You Believe in Love? and a revved up version of Workin' for a Livin'. I was amused to hear that Brooklyn president Marty Markowitz pronounces Huey the same way that Stoone Groove does - You-ey.

When I was a kid, a friend of the family told me that his friend worked backstage at Merriweather Post Pavilion and that Huey was a dick. I remember being quite upset by that for a long time. I'm proud to say 24 years later that that guy had no idea what he was talking about. Huey was as friendly as I had always hoped. Oh Huey.

Jim:This was a truly special night. Huey was much friendlier than I ever would have expected.

I know Mitch is partial to Power of Love, but Heart and Soul was the highlight of the show for me.

Listmaker:heart and soul was indeed pretty fantastic. hit after hit from this man.

i mean - 2 of the first 3 songs were heart of rock and roll and i want a new drug! pineapple express sounded pretty damn good too i thought. oh yeah, and jacob's ladder! what a show.

And our friend Ray Johnson of a blog we subscribe to, Sheepshead Bites, scored an autographed concert program (which you can see on his complete post) after he hung around to see Huey after the show:
I was happy that a few early-to-bedders left before you had a chance to perform your encore, since it let me move up closer to the stage, where I could see from the great shape you're in why 'it's hip to be square'. . . Best of all was when you, the only headline performer to do so this seaside season, came out after your meet and greets backstage, to say 'hi' to your fence-fans. . . It was so nice of you to reassure all the clamoring autograph seekers that you would give each one of us your John Hancock. Even though, you couldn't put my name on the program cover, you did bring your own permanent marker for the autograph -- I really appreciate that. . . I read that you were born in New York city, and your true born-in-New York spirit has shown through, last night. Please tell me that you, too, are from Sheepshead Bay.


It really was a great show and people near us had taken enough of their arthritis meds (we want a new drug) to be really rockin' out. We were very happy to have gotten to this summer's last Seaside concert, though it filled us with nostalgia - not least because we could see, just beyond the stage, the Trump Village apartment building where, at a New Year's Eve party in the last hour of 1970, we first, um, really messed around seriously with a girl as snow enveloped the streets of Coney Island below.

We were in that apartment again at the start of this summer, at an evening shiva call following a morning funeral at a Russian-owned chapel on Coney Island Avenue. Our friends' father, a Greatest Generation World War II vet, was a much-beloved teacher and assistant principal in Williamsburg for many years. He and his late wife were also our snowbird Arizona neighbors. Their three sons and six grandsons were of course sad that night, but he'd had a good life for 90 years.
*
As we waited for the Q train at Ocean Parkway after leaving the concert, we felt elegiac. Another summer is ending and we're all older. It's as simple as that.

Before you know it the kids are all grown
And married off with kids of their own
And it's all in the past
It's as simple as that
You've reached the autumn of your life
And all that's left is you and your wife
And a dog and a cat
It's as simple as that

But simple can be wonderful - even if the money goes so fast it ain't funny.

Wednesday, August 20, 2008

Wednesday Evening at the Park Slope Barnes & Noble: Moustafa Bayoumi & "How Does It Feel to Be a Problem?: Being Young and Arab in America"


Tonight we went back to the Park Slope Barnes & Noble, where we'd last been on Friday, to listen to a discussion not of Brooklyn's past with Pete Hamill but its future, with Brooklyn College English professor Moustafa Bayoumi, author of the just-released How Does It Feel to Be a Problem?: Being Young and Arab in America, a compelling look at the lives of seven young Arab-Americans coping with post-9/11 life in our borough.

The store had configured the seats and author's position somewhat differently than for the overflow Pete Hamill crowd, but we got downstairs about 12 minutes early and it was already standing-room only.

Peaches, the B&N coordinator, introduced the author pretty much with the canned bio from his publisher, which is pretty impressive for such a young scholar:
Moustafa Bayoumi is an associate professor of English at Brooklyn College, the City University of New York. Born in Zürich, Switzerland and raised in Kingston, Canada, he completed his Ph.D. in English and comparative literature at Columbia University. He is co-editor of The Edward Said Reader and has published academic essays in Transition, Interventions, The Yale Journal of Criticism, Amerasia, Arab Studies Quarterly, The Journal of Asian American Studies, and other places.

His writings have also appeared in The Nation, The London Review of Books, and The Village Voice. His essay “Disco Inferno,” originally published in The Nation, was included in the collection Best Music Writing 2006. From 2003 to 2006, he served on the National Council of the American Studies Association, and he is currently an editor for Middle East Report. He is also an occasional columnist for the Progressive Media Project, an initiative of The Progressive magazine, through which his op-eds appear in newspapers across the United States. He lives in Brooklyn.

Bayoumi, who jokingly said he'd brought his own cheering section, began by saying that his book was three years in the making. Inspired by such works as Random Family, Nickel and Dimed, and the writings of the brilliant Joan Didion and Edward Said (particularly After the Last Sky), the author said he hoped to use the tools of narrative to tell truths about the lives of contemporary Arab-Americans facing not just the tough-enough challenges of growing up but of having to cope with the havoc and hostility in a post-9/11 world.

His title comes from the W.E.B. Du Bois' 1903 classic, The Souls of Black Folk, which astonished us when we first read it in the spring of 1973 in Prof. Dan Mayers' Afro-American Literature class at Brooklyn College. It's a book we've taught in several classes, and of course it contains a famous essay discussing not just the "double consciousness" that black Americans develop but with the conundrum of how a person lives when her very existence seems to be a "problem" to others.

(Aside: We were once taken aback in 1981, when at a party while we were guest-teaching at the New Orleans Center for Creative Arts, a self-described "redneck from West Monroe, Louisiana," asked us: "Grayson, what's your feeling about the Jewish problem?" Soon we'd learn that Mike Stone, despite his good-old-boy accent and manner, was an English teacher who knew more about the works of Saul Bellow than we did. A born provocateur - as he proved again the same night when he told us that he'd "never seen a Jew drink Pepsi before" - Mike made us think and we ended up having dinner with him every time we came to New Orleans.)

Prof. Bayoumi said he chose to write about young Arab-Americans in Brooklyn not just because he lives and teaches here and would avoid having to travel for research, but because, according to the 2000 census, the largest number of Arab-Americans in a city are in New York, with Brooklyn having more residents of Arab descent than the other boroughs. Dearborn, Michigan, may have a higher concentration of Arab-Americans, but Brooklyn's population is larger.

He then read, in a lively voice, an excerpt from the early part of the book which is both a lyrical and informative description of our borough, and then briefly outlined the seven young Brooklynites portrayed (the word "profiled" is not to be used here) in How Does It Feel to Be a Problem?.

Rasha, whose story can be found in Bayoumi's New York Magazine article, was living a normal life until the trauma of being caught up in the detentions and mass arrests following 9/11. Thrown in jail along with the other members of her family, Rasha undergoes an experience that is appalling but ultimately inspiring inspiring.

(Second aside: As a law school administrator at a South Florida university with a large Arab-American student body, we constantly heard stories of middle-of-the-night knocks on the door and people being taken away. For example, Lubna - whose Palestinian family ran a popular restaurant in the heavily Jewish surburb of Sunrise - had been a student when we taught constitutional history and other legal writing subjects to undergraduates in the late 1990s and who was a first-year law student when we got our new job there. Her husband was one of those taken in during a mass arrest and was kept in custody for days until the government finally admitted that there was no reason at all to hold him further. Sometimes it seemed to us that there was no student of Arab descent who didn't have a similar story.)

Prof. Bayoumi said he'd wanted to interview a soldier, and he found Sami, a Park Slope Christian kid who joined the Marines and left Port Authority for basic training on the night of September 10, 2001. By morning, when he'd arrived at base, everything had changed and the recruits knew they were preparing to go to war. Sami ultimately served two tours of duty in Iraq, and the book details his conflicting feelings about being there.

Yasmin was 15 and decided to get involved in student government at her high school. To her surprise, she's elected to office in a landslide, only to find that she later is pressured to resign because, due to her Muslim religious beliefs, she cannot attend a school dance where attendance is mandatory for student officers. Facing a mixture of anti-Muslim bigotry and the mindless (but selective) adherence to rules common among the more moronic educators in our public schools, Yasmin eventually chooses to fight. Earlier today, along with Prof. Bayoumi, Yasmin - now, we are glad to report, a law student - eloquently told her story on WNYC's Leonard Lopate Show.

Akram, whose Palestinian family lives in Sunset Park and owns a grocery in East Flatbush where he works, confronts many pressures after 9/11. But he maintains a mordant sense of humor (driving with three buddies, he says, "There's that new Arab store," and when they ask where, he points and says, "Target") and the dream of going to booming Dubai.

Lina, an Iraqi-American, has to deal with her conservative parents as well as societal pressures and her infatuation with an Iraqi man takes a surprising turn when he's revealed to be a spy for, no shit, Saddam Hussein.

Omar, an aspiring journalist, thinks he's hit the jackpot when he scores an internship with Al Jazeera, only to find that his credentials seem suspect when he begins an apparently fruitless search for employment.

And Rami, whose father, like many Arab-Americans, is picked up on criminal charges for a minor offense - this was common among owners of corner stores, Prof. Bayoumi said - becomes more religious and devoted to Islam, just as her father does in prison.

Prof. Bayoumi read another excerpt in which Yasmin and her father go to midtown to see an attorney to discuss a possible case against the high school for removing her from student government, an excerpt typical of his lavish attention to detail and character development.

A question-and-answer period covered a lot of ground. The author said his biggest surprise was just how hard everyone seemed to work, making it difficult for the young people to find time to talk with him. (Third aside: in our opinion, compared to most working-class people, full-time college professors are on a perpetual vacation.)

The Brooklyn Arab-American community is close-knit, despite differences in national origin, neighborhood, and to some extent religion. Local organizations like the Arab-American Association of Bay Ridge do a good job in helping recent immigrants and families with young children, but finding support for teens and young adults is a bit harder. There are maybe three degrees of separation about Brooklynites of Arab descent, and there's a lot of networking among the borough's mosques.

Although there's been considerable Arab immigration to the U.S. since the 1880s, and they've been in Brooklyn for a long time - we started going to the bakeries, food stores and restaurants like Sahadi on Atlantic Avenue in the late 1960s and early 1970s for couscous, baba ghannuj, baklava and typical Arab hospitality - there also was a lot of discrimination prior to 9/11.

For example, in the fall of 1989, alerted by an article in the American Arab Anti-Discrimination Committee newsletter, we went to our local Spencer Gifts in Hollywood, Florida and found, in the store window in the Diplomat Mall a display of several Halloween costumes, with one called "The Arab" or maybe "The Sheik" joining other presumably scary figures as "The Witch" and "The Werewolf."

When we protested the costume, featuring a kefiyeh-headed mask with stereotypical hook-nosed Semitic features and a maniacal grin, the store manager just shrugged and appeared unmoved by our argument that he'd never feature a similar costume of a felt-hat-topped payiss-wearing Hasid in our heavily Jewish area. Basically, all we could do was write a long outraged letter to the Hollywood Sun-Tattler, the daily newspaper for which we'd worked as a humor columnist a few years before, and that didn't stop the sales of this racist outfit.

One hopes that such a Halloween costume would be haram in 2008, but we're not so sure. If you want to educate yourself about Arab-Americans and get to read some compelling stories, get Moustafa Bayoumi's book, as a long line of Barnes & Noble customers did last night.

Tuesday, August 19, 2008

Tuesday Night at the McCarren Park Pool: "Velvet Goldmine"


Back around 1972, we were hanging out in an apartment on Nostrand Avenue near Newkirk with some guys who went to Brooklyn College with us, just hanging out. Our friend Steve burst in, nearly breathless, holding an album.

"You've got to hear this incredible fag from England," Steve said. Steve and I shared the same birthday although I was two years older. He'd die when he was about 30, like a lot of our friends, from AIDS.

"What?" said Flip, whose apartment it was. He was half-offended and half-joking that Steve had said "fag." Flip was the oldest of us, a Vietnam vet, very openly gay except to his father, a general who worked at the Pentagon.

Steve put the record on Flip's stereo and we listened.

Bob, a very straight guy, the only person we knew then into bodybuilding, whom we used to play softball with on Sunday mornings at a field on some private school in Hewlett, was sitting on the beanbag chair across the room. Later he'd become the first millionaire in our crowd.

From the couch where we were sitting, a copy of Lermontov's A Hero of Our Time sitting unread in our hands, we caught Bob nodding approvingly to us, meaning the music. We nodded back.

When the record was over, Mark, another friend - one we'd met in Miss Stein's freshman comp class - said, "Wow."

"Wow" was the basic reaction to Ziggy Stardust of half a dozen straight, bi and gay (closeted and not) guys in their early twenties back in that Flatbush apartment 36 years ago.

Tonight - cool enough so a jacket was necessary - we schlepped the few blocks over to the McCarren Park pool for Summerscreen's showing of Todd Haynes' Velvet Goldmine, which debuted at the New York Film Festival ten years ago this October.

We'd never seen it before. Wow.

We have to admit that we had to move our Volkswagen beach blanket (from last year's giveaway at the Purple Rain screening: "find your twin" and a number on it reminded us of that night's raffle) twice due to people near us who just wouldn't stop talking. Some people on the side of the pool seem to never look at the screen at all, and the fact that we were looking at them and feeling annoyed reminded us that we are officially old enough to be a cranky old man.

The movie was most enjoyable for us after 40 minutes when we stood up just outside the pool. We leaned on a pole, stood by the railing, squatted down at times, where we could see the whole crowd but not hear them, imagining they were all paying rapt attention.

Sound was a big problem as the film began. What we'd assumed was a silent sequence soon proved to be technical difficulties, which became apparent in the scene with Christian Bale and the other journalists after the tape they and we were watching ended. The screen went blue, and the audience groaned. How come the sound had worked for the short and the Greenpoint Wines commercial?

The guy who makes announcements said he suspected sabotage, backtracked when no one laughed, then said the breakdown gave us a chance to buy food and beer, as we looked at the blue screen that said NO SIGNAL and a countdown. "I'm assured by our crack technicians that this is not something that can't be fixed in ninety to 150 seconds," we were told as we stared at a SETUP menu on the screen.

And sure enough, soon the movie pretty much started over again, though we skipped the cheerful title sequence.

Since we are not film critics, here's the New York Times' Janet Maslin in her 1998 Film Festival review:
Todd Haynes's dazzlingly surreal ''Velvet Goldmine'' offers a celestial ''Here's looking at you, kid'' to the heyday of British glitter rock in general and to the David Bowie of the early 1970's in particular. Without addressing Mr. Bowie directly, it appropriates his shimmering, protean aura in virtuoso ways that put ordinary period filmmaking or time-capsule musicology to shame.

The astounding Mr. Haynes, whose last film (''Safe'') took place on an entirely different planet from this one, brilliantly reimagines the glam-rock 70's as a brave new world of electrifying theatricality and sexual possibility, to the point where identifying precise figures in this neo-psychedelic landscape is almost beside the point. ''Velvet Goldmine'' tells a story the way operas do: blazing with exquisite yet abstract passions, and with quite a lot to look at on the side.

Structured as a rock ''Citizen Kane'' with an extraterrestrial Rosebud, ''Velvet Goldmine'' traces its tendrils back to Oscar Wilde, whom it imagines as a schoolboy. (''I want to be a pop idol,'' this child sweetly announces.) A century later, the Wildean spirit of flamboyance is spectacularly reborn, ready to erupt into the glittery, pansexual pop utopia over which Mr. Bowie so dramatically presided.

The film, with a vibrant soundtrack of glam-era homages and originals (performers like Roxy Music, T. Rex, Brian Eno and Iggy Pop are interwoven ingeniously), doesn't force its musical references on audiences, but it evokes them with vast fondness and fascination. ''People have certain memories that they hold very dear, so you want to remain true to them,'' Christine Vachon, the film's audacious producer, has explained.

Out of the wild Ken Russellish phantasmagoria of ''Velvet Goldmine'' several essential characters emerge, central among them the Bowiesque Brian Slade. Played by Jonathan Rhys Meyers as a stunningly pretty, insolent, snake-hipped presence, he embodies the provocative and mysterious heart of the film. Mr. Haynes, cerebral as ever despite this film's explosion of visual sensuality, surrounds Slade with implicit questions about art and inspiration, truth and honesty, passion and repression.

Or better yet, from Evan, a guy around the age we were in 1972 - only more knowledgeable - on the blog Walkie Talkies:

This past year saw a definite 180 in my opinion of Todd Haynes. "I'm Not There" had me seeing red at first; whence comes these transgressions about iconography of icons? But that didn't last long. It starts to make sense when you see the machinery turning in all his features. "Far From Heaven," "I'm Not There," "Velvet Goldmine:" they all take a pastiche of a monumental time or thing, throw it into a blender, and pour out the essence of it all.

It's on mind after seeing "Velvet Goldmine" at McCarren Pool tonight. Part Citizen Kane, part glam, the time gets spent picking apart the different threads in Ewan McGregor's and Jonathan Rhys-Meyers's characters. It's not just the individuals - Bowie, Eno, Iggy Pop - all screwed up with each other, but the different times and places. The mythologies are boiled down, distilled, and poured out over the perfect superficies.

An experiential note: there was probably no better venue than McCarren Pool at dusk to watch "Velvet Goldmine." It's the kind of communal experience that brings out something fresh from sometimes familiar material and venues.


Okay, we can't say much more than those two critics except we had a really good time. (For a good discussion of the film's soundtrack, check out this blog post on The Playlist.)

Next Tuesday is the last Summerscreen movie of the summer in the last summer of the McCarren pool before they put the water back in it, but last week's canceled screening (due to the ferocious thunderstorm) has been rescheduled for Monday.

So you have two more chances to see a movie at the pool, thanks to The L Magazine (which really should offer a reward for information leading to the capture of the person who's knocking down their boxes on Metropolitan Avenue)and its sponsor, Scion - whatever they are.

Oh, and the only real moment when the audience cheered was the scene of The Kiss:


We wish our friend Steve, and other lost friends from the 1970s, had stuck around to hear the cheers at the pool tonight.

Sunday, August 17, 2008

5:28 p.m. Sunday in Union Square Park: Silent Rave

(Courtesy Gothamist via RGP at Flickr)

We've just gotten back from Union Square Park where the silent rave that began at 5:28 p.m. was still in progress more than an hour after it started.

If you are one of the few people who don't know what a silent rave is, according to the Urban Dictionary, it's this:
"Rave" or form of wild dancing party where all of the members listen to music through headphones on seperate [sic] portable music players. The players are all synchronized so everyone is hearing the same thing, but no outsiders hear anything, hence the "silent" portion of the name.

However, this is actually as incorrect, as you'd expect from someone who can't spell separate, at least applied to this New York Silent Rave's official position (following the first one last April):
A Silent Rave. . . is a simple concept. Hundreds, hopefully thousands, of people from any background of life turn up in a public place at a pre-arranged time, turn on their iPods and dance freely to whatever music they choose to listen to!

(Courtesy Dietrich on Flickr)

Anyway, most sentient beings in the NYC blogosphere knew that the silent rave would start at precisely 5:28 p.m. even if Facebook, apparently unable to deal with such a supposedly eccentric time, listed it at 5:25 p.m. (Hey Mark Zuckerberg, deal with that! Now!)

So at 5:17 p.m. we were on the south side of the park just north of the rows of people on the shallow steps facing 14th Street watching the vendors selling crappy "handmade" t-shirts, crappy "jewelry," high-quality tube sox, and bad imitation Keith Haring prints. We were in the not-so-little plaza in front of a temporary bandstand from gone-by musical event and the second tier of steps.

None of the people on the steps looked ready to rave, and we wondered if we were in the wrong spot, but two guys were trying to float a flock of red balloons, two giant and about eight extra-large from a roll of heavy-duty string with something or other attached to it (ballast?) and they kind of looked official since they wore shorts and had cool tattoos.

However, their attempts to float the balloons, although they got pretty high up, never seemed to satisfy them, and we guessed something wasn't right. Meanwhile, there was no one within 25 feet of us, and we're pretty sure our armpits were smeared with Arrid XX, so we wondered - with just 7 minutes to go - if this rave was going to be a bust.

Soon a girl with sky-blue hair, green-and-white striped leggings and Swifty Lazar glasses came by and she had on the requisite iPod, so we figured we were in the right place. (Being "late adopters," we are aiming to be the last one in New York, even among those of us in the "young old" 55-64 demographic, not to own an iPod. Also, we don't want to be mugged while walking down Myrtle Avenue.)

As more people gathered, the balloon guys kept trying, and we spotted a guy who'd serve as what our family, which owned a hotel in the Borscht Belt once upon a time, would call a toomler. In another century, he'd be leading rounds of Simon Says beside a Catskills resort's pool, but this kid was wearing a red felt hat with orange trim the size of a Doberman.

A cute young people, the boy of which had chartreuse-dyed hair on the left side but who otherwise looked very A&F, also came by, as did some really skinny Asian guys checking the time on their phones. So were we: it was 5:26 p.m. We had a hunch that people who attend silent raves have, like our students in 8 a.m. college classes, a tendency to be a tad tardy.

Disconcertingly, we find that we're just about in the center of where we expect the silent rave will take place. As the balloons temporarily rise again, three frat-boy types wave sentimentally at the sky the way they probably will next week when their hedge-fund CEO parents' helicopters leave them on the Dartmouth campus. "It doesn't want to go up," says one of the two balloon men.

Someone else starts the countdown, though we don't hear it till "Six...five...four"
Then we see him by the steps on the west side: the countdown guy's finger flicks with every number. Some other guys stands against the lamppost in front of us, obviously not getting ready to dance.

Then, suddenly, more than half the growing crowd around us are, in fact, dancing. Only a few stop after a couple of minutes, apparently feeling too stupid to continue. If others feel stupid - which we doubt - it doesn't stop them. A girl on her phone next to us is narrating to an absent friends: "So now the balloons kind of went away."

We feel strange watching so many people dancing and yet hearing no music ourselves. This is what life would be like, we think, if we'd spent the past 40 years of Sundays getting up really close at the McCarren Park pool parties (which we'd given up on today when we saw the line snaking down Driggs Avenue three hours before).

(Courtesy Dietrich on Flickr)

And then we were reminded of the scene in Pynchon's The Crying of Lot 49, one of our favorite adolescent novels that we inflicted on our students just a few weeks ago, where Oedipa, wandering on her search for the Tristero conspiracy through a psychedelic night in late '60s San Francisco, finds herself dragged into a hotel ballroom where deaf-mute conventioneers are dancing in unison without hearing any music.

Of course everyone is dancing to different music here, except perhaps for small groups which perhaps have coordinated their playlists. As some stout women of a certain age (ours) nearby say, "Dancing hasn't really changed much in the last thirty years." And, as we will note after an hour of watching the silent rave, there are a finite number of variations in human dance movements among those not in Pilobolus.

Three young guys, one a very cute male-identified lesbian wearing a yarmulke, have signs that say FREE HUGS, and when they first hold up their offer, they get a few takers, including one thirtyish gay male who hugs the cute boyish lesbian five distinct times before resuming his geometric-cut dancing. Some girls from Long Island or New Jersey pass them, taking pictures with their cellphones.

Quite a number in the crowd actually don't have iPods, either, though a lot of them are dancing anyway. A guy in sandals can jump higher than anyone else, although that's the extent of his dancing talents. Another guy wearing what seem like Tony Hawk cargo pants is kicking as if he's in karate class. A chubby kid wearing a t-shirt that says "It Is Difficult to Be Alive" is shaking his way through the crowd. Lots of people are taking pics and videos which we will later steal from their Flickr to illustrate this post.

We're actually pretty much in the middle of what's a fairly big crowd. Most are 18-25, but a John McCain type around 70 is also close by, looking around and shaking his head in that way that some Democrats imagine Arizona's senior senator would were he in the middle of a silent rave rather than a campaign swing through the Rust Belt.

(Courtesy Dietrich on Flickr)

And some people with perfectly good (we presume) iPods, buds in their ears, are just standing around not moving. Can they be removed? One boy with a buzzcut is scratching himself a lot, but we don't think that counts. Four or five cops stand on the sidelines just having a grand old time laughing. They are the only ones we will see laughing that hard in Union Square all day.

"I love it when things are planned or something," says one young lady passing by to another.

The half-green-haired guy moves past us with his girlfriend and we notice his Nader/Gonzalez button. So when does it stop, we wonder. We forgot to check.

One guy looks nervous because he doesn't quite know what to do. Then we spot a guy with a good-sized cardboard box covering his torso and little rectangular boxes on his arms and a Dove Bar carton on his head. We know he's supposed to be a robot because his torso-box has a mechanical design and also it says ROBOT. (Later we will watch a woman doing a video interview with him ask how he prepared for the rave. He'll tell her that he smoked pot.)

It's now past 6 p.m. and the silent rave has gone on for over half an hour; the girls nearby who look like they go to NYU, don't ask us how we know, stop dancing simultaneously, as if they've prearranged a time to stop, and get ready to leave.

Nobody's taking up the FREE HUGS offer of the sign guys (and we use "guys" in a gender-neutral sense here) so they keep moving around, eventually to the top of the steps. Holding their signs without any hugging going on makes it appear they are holding cue cards telling the others how to act.

(Robot photo courtesy of Sarah A.O Rosner/The AMOC, who has more pics and a great blog post at The Urgent Artist)

We spot one of our numerous former students taking pics of himself as he dances and we move away lest he notice us.

A black girl seemingly dressed as Snow White, fanning herself with a paper fan advertising some anime film, moves side to side. We notice that many of the people on the steps facing 14th Street seem more interested in what's going on with shoppers coming out of Whole Foods Market than with the exciting cultural event behind them. Others stop to ask. "I don't know how to explain it," a young Japanese photographer says to an elderly man, and then does a perfectly good job. "What times we live in," says the old-timer to him.

There's some good moves by a lithe guy all in black with a really big Afro and a punkish girl with forest-green hair and a "Who Killed Laura Palmer?" t-shirt. But this is starting to feel a bit tedious to us, old enough to have gone to Studio 54 in the '70s, and not indulging in anything stronger than Tab or ginger ale, were similarly bored (though the waiters' costumes - or lack thereof - were somewhat diverting).

Few people seem particularly good dancers, but we feel bad about thinking that, knowing that's not the point. The point is to have fun even if you can't dance. Someone on the steps is repeatedly spraying streams of water from a blue plastic water pistol and we wish some of it would fall on us because in the sun it's hot. Occasionally people pass by who haven't used deodorant or are just dancing so vigorously it's stopped working. The robot dances less vigorously, his batteries apparently running down.

But spirits revive as the guy in the giant red hat leads a conga line. Wow, we didn't know young people knew about conga lines, and this gives us hope that the 1930s could be returning culturally as well as economically. Lots of kids want to join the conga line and they happily jerk to and fro. Eventually it becomes a circle, so that when Mr. Big Red Hat comes by us again, it seems as if. . . well, here's what he says: "Oh my god, this can't be the end of the line, I'm the beginning." The alpha and the omega, together again.

The conga line, or circle now, keeps passing. The robot has been revived and is dancing gaily behind a 15yo boy. People look like they're having fun, and the conga procession splits into two. The Hat guy passes again and then one more time before eventually the conga line dissipates into more individual and couples and groups dancing. "Are we done yet?" someone says, meaning the conga line. "Yeah, it ended," someone else answers him.

(Courtesy Gothamist via RGP at Flickr)

Behind us, a woman about 23 is saying to her boyfriend, "You go to talk to a girl and I'll go talk to guy." "No," he says. "Okay," she says back, "then you go talk to a guy and I'll go talk to a girl."

One guy is dancing with a hula hoop and as we watch him, it falls down three times. Still few takers for the FREE HUGS guys, so they keep moving around until they finally pass close to some hug-starved dancers. "I'll hug you," one says, "but I'm as sweaty as sin." The male-identified lesbian says it's okay. Another guy calls "Double hug!" and simultaneously hugs the other two signholders.

A guy we thought was wearing a bright yellow witch's hat, we finally realize, also has a roundish yellow torso that says MUSTARD. He's a mustard container. Before this we'd thought his torso had said HARVARD. Maybe it's time for us to leave. We walk up to the top steps to see the rave from the other side instead, to get a sense of perspective.

We're dismayed by two signs of unwanted commercialism off to our right, by the subway entrance. Two athletic white guys are playing with big cardboard arrows that say YOUR AD HERE for only $295 A DAY and list a phone number. And three black guys who look like the regular performing breakdancers we see at the park actually commit the cardinal sign at a silent rave of turning on a boom box for a couple of minutes until, we presume, they're shamed into shutting down the intrusive sound of music.

Two parents in their late 40s have brought a son about 11 who wears a t-shirt that says JUSTIN RULES. If he's Justin, he's dancing first with his mom, who tells him it's okay to do anything, and she demonstrates by doing plies and other ballet moves.

Some people have just arrived and they have more energy than others. After more than an hour, some people seem tired. Every once in a while someone starts a little cheer to rally the crowd, and others join in. But more than few dancers' enthusiasm seems to be flagging, or maybe it's just us.

One guy yells something we can't make out in order to excite people. Finally we realize he keeps shouting "Plutonium!" A boy is holding a sign that says RAPE HER BALLS OFF, which seems not very nice although there's no antecedent to the pronoun. Actually that makes it worse. "Is this, like, some kind of flash mob?" a guy asks us. A family of obvious tourists is trying very hard to not look like tourists, not staring because they assume this is something that goes on every day in Manhattan.

We're tired so we sit on the steps next to a boy about 19 with a nose ring who looks very bored. "Woo woo!" someone says, and we think of the ancient term co-ed. The "Difficult to Be Alive" guy from before is now finding it easy to play Guitar Hero without a Wii. Girls' voices keep asking, "Avery, where are you? Avery, where are you?"

Behind us, two pale guys who look like actors in Judd Apatow films are talking. "This depresses me," one says. "I know what you mean," says the other. "Everyone here looks like someone I know."

(Courtesy Gothamist via RGP at Flickr)

Someone looking like Darth Vader if Darth Vader were Eurotrash in a black raincoat passes by us. Mr. Mustard is dancing and talking at the same time. "What a cute costume," someone is telling him, and he seems as flattered as if he'd been mistaken for Grey Poupon.

We're ready to go back to Brooklyn on the L train because we've had enough fun and we're hungry and tired. And it really was fun, actually. The world needs more silent raves. Hopefully this one will go on till at least midnight.

But down in the subway we're dismayed to see the ebullient guy with the big red hat talking quietly with his girlfriend. Okay, now he's kissing her. That's better. Could life be any more wonderful?

Twenty-Five Years Ago This Weekend: The New York Times Book Review & "I Brake for Delmore Schwartz"


Twenty-five years ago this weekend, we got our first book review in The New York Times Book Review. It was our third book of stories, and how the review got in there is a story in itself.

We'd sent a copy to a fiction writer we admired, Ivan Gold, whom we'd been introduced to by our creative writing professor at Brooklyn College, the great Jonathan Baumbach (to whom our new book Summer in Brooklyn is dedicated).

Gold sometimes reviewed books for the Times Book Review - just the year before he'd reviewed our friend and neighbor Tom McHale's last novel (Tom committed suicide soon after that, though we wouldn't call the events related) - yet we didn't really think of that. We just liked Gold's books - especially Nickel Miseries - and wanted him to have a copy.

It turned out that Gold was at the time reviewing another book, by the very talented David Evanier, for the Times Book Review, and he thought our book was worth including in the review. So he wrote the Times Book Review's editors, and they agreed. He also tried to get in touch with our publisher, Zephyr Press, who were in the Boston area near him, but at the time they were in a communal house in Somerville and the phone message got waylaid.

There were all kinds of complications - because he couldn't get another copy easily, Gold had to rip out the half-title page in which I'd inscribed the book to him when he sent it to the Times for the editors to check out - so it's amazing that it ever appeared. But finally our publisher Ed Hogan got word the review would appear on Sunday, August 14, 1983.

We knew the Times Book Review was usually available by Wednesday at some bookstores, and then living in South Florida, we called around and found it was at the Waldenbooks in the Pompano Beach Mall. It was about a 20-minute drive and we were really nervous about what the review would say.

But, skimming it after we took it from the racks, it seemed okay. In a feature article on us a couple of months later, the Wall Street Journal described the NYTBR review as "mildly favorable." We'll take "mildly favorable" and so were pretty happy that day 25 years ago when we first saw the review.

Since you won't find the review in the online New York Times database - we think because of New York Times Co. v. Tasini, 533 U.S. 483 (2001) - and it's hard to find even in library databases - we're vain enough to want some record of it on the Web.

(It's been on our old MySpace blog for awhile, but that means it's virtually invisible, impossible to find even on MySpace's useless search engine of its own site.)

So we beg your indulgence and display it here after typing it up from our fading photocopy:

The New York Times Book Review

Sunday, August 14, 1983
Page 12 (continued on page 29)

"Uneasy in Brooklyn"

THE ONE-STAR JEW
By David Evanier.
223 pp. Berkeley, Calif:
North Point Press. Paper, $15.

I BRAKE FOR DELMORE SCHWARTZ
By Richard Grayson.
95 pp. Somerville, Mass:
Zephyr Press. Paper, $4.95.

By IVAN GOLD


A character named Bruce Orav has been spooking David Evanier for a good part of Mr. Evanier's creative life. Orav is a writer from Brooklyn, with divorced parents (a real couple of characters) to whom he remains in emotional bondage. He has an equivocal sense of his Jewishness; a number of idiosyncratic shrinks (some of whom he abandoned, some of whom abandoned him) trail in his wake; and he is a party to a never-ending quarrel, most of its battles lost, with the recalcitrant stuff of life, in his attempt to wrestle it into some kind of fictional shape.

Orav was about to turn 30 when Mr. Evanier's earlier account of his misadventures, "The Swinging Headhunter" (1983), came to a halt, and Orav has just had his 40th birthday as "The One-Star Jew" ends, or almost ends: These 14 stories that jounce Orav (along with his wife, Susan, and stepson, Danny) through his 30's are not quite chronologically arranged. Thirteen of them have appeared previously in magazines (three in The Paris Review, of which Mr. Evanier is fiction editor), and the title story was reprinted in "Best American Short Stories, 1980," so that there would seem to be some sort of consensus—although I am not able to share it—that each Oravian chunk has enough density to stand on its own.

These first-person narratives range in size from three pages to 42. In an example of the former ("A Safe Route on Eighty-Third Street"), Orav and his wife, who remains an extremely shadowy figure in these pages, endeavor to sublet an apartment from a dotty lady on the East Side, then think better of it. The story "The One-Star Jew" is, on the other hand, a lengthy account of Orav's employment at "JFI" ("Jews for Israel"). Or more accurately, since Orav, despite his first-person narration and a liberal but arbitrary smattering of his dreams and memories, is not much more clearly rendered than his wife, it is the account of the quirks and crochets and sex lives and medical histories of the two men in their mid-50's with whom Orav works most closely. There is probably a first-rate novella to be written about office politics and personalities in a fund-raising organization, with or without the Jewish touch, but this is not it.

Fortunately, Orav's attempts to reduce his parents to subject matter are continually thwarted by these bouncy individuals themselves. Orav's short story entitled "My Mother Is Not Living," which she has read, is probably think indeed next to the woman in the flesh, eked out by Orav's painful memories of her old maternal failings—for example, the time she neglected to rescue him from the attentions of her hairdresser, who, making a house call, fondled the 10-year-old in the bathroom, under the cover of cutting his hair. And the fact that his father ("I have used my father as a guinea pig for my stories and poems most of my adult life") totes around with pride a copy of an unflattering description of himself written by Orav, and "whips it out to show to strangers," is a far more arresting piece of business than the description itself.

But the book's most splendid creation lives in the story "The Lost Pigeon of East Broadway." Widowed and crippled, the 84-year-old Annie Blocker survives quite nicely, thank you, the do-good weekly visits of Orav and Susan as well as the barbed attentions of a series of "black Home Care workers," who, if they bear her no ill will to begin with, are soon enough sucked in by her cantankerous combativeness. Annie Blocker ponders the larger questions: Is a wheelchair really any less humiliating than a walker? Can a Jewish man be a crook? (Yes, she decides, when she remembers Rabbi Louis Ribman, "king of the nursing homes.") She is bigoted, canny, loving, ungrateful, witty and obscene. Where do they come from, Orav wonders, these people still clinging to life on the Lower East Side, "these new old Jews?" The whole of this collection may or may not add up to more than the sum of its parts, but Annie Blocker is worth the admission price.

A less hefty tariff will gain you access to Richard Grayson's fifth book, "I Brake for Delmore Schwartz," whose title may have had life as a bumper sticker before it was placed on this collection of 15 short stories, all previously published in little magazines like The Smudge and Street Bagel. The stories generally revolve around a chap named Richard Grayson. This character, like Mr. Evanier's, is a writer from Brooklyn, uneasy in his Jewishness and very concerned with the esthetics and mechanics of turning things into fiction, and fiction into things.

Mr. Evanier's and Mr. Grayson's stories are full of insanity, nutty therapists, cancerous relatives, broken homes, fiction workshops, youthful theatricals at Catskill bungalow colonies and the morbid wizardry of telephone-answering machines. Writing at less than the top of the their forms, both writers appear as sensibilities in search of story, grab bags of meaningful memory, acute perceptions and mordant social comment, which neither seems able to sift through and transform into art. Yet now and again for Mr. Grayson the shticks become inspired, as in a two-page meditation on the letter "Y" ("Y/Me") in the present volume and in the story "Inside Barbara Walters" in "Disjointed Fictions" (1981).

The histories of some of Mr. Grayson's other characters, like that of Saul in "That's Saul, Folks," are artfully telescoped and given equal valence with the history of the times. That is to say, where were you, reader, when the lights went out for the city of New York? In "Is This Useful? Is This Boring?" fictional beings named Joyce Carol Oates and Donald Barthelme square off over the issue of the fragment as a viable literary form, but then they patch up their differences. The title story threatens for a while to turn into a well-made story about two friends involved with the same woman, and both fearful, in the computer age, of continuing to lead the hand-to-mouth artistic life, but it pulls back just in time. If one is not blessed with a gift for extended narrative (a problem Mr. Grayson faces squarely in "How Not To Write a Novel" in "Lincoln's Doctor's Dog and Other Stories," 1982), then why not go for the spring? And in a 24-page pamphlet, "Eating at Arby's" (1982), Mr. Grayson mastered, or invented, a style equidistant between Hemingway's short stories and Dick and Jane, a feat probably useful and, at that length, far from boring.

In "Nice Weather, Aren't We?" in the present collection, the grandfather of the character Richard Grayson has been leafing through an anthology of Jewish stories put together by a famous writer named "Ballow." "He looked at me conspiratorially. 'Personally,' he said, 'I prefer your little antidotes,'" Others may, too.

________________________________________________________________________

Ivan Gold is the author of "Nickel Miseries," a collection of stories, and "Sick Friends," a novel.

Saturday, August 16, 2008

Friday Night at the Park Slope Barnes & Noble: Pete Hamill and "North River"


Dr. Bob Wolk, the psychologist whose office in Concord Village we used to go to every week in our late teens, once told us he'd appeared on a TV talk show with someone he described as "a fine young man" - at least that's what we wrote in our 1970 diary.

One of the first stories we ever wrote that got published (in Transatlantic Review) begins with these four words: "Somebody like Pete Hamill. . ."

Except there's nobody quite like Pete Hamill.

Pete Hamill is still a fine young man, as well as an amazing writer whose early career was a touchstone for us growing up. We devoured his newspaper columns, magazine articles and everything else we could find by him. Pete Hamill provided proof to us that, yeah, you could grow up in Brooklyn and be a writer someday.

Last night we were lucky enough to have enough sense to go out in the rain to see Pete Hamill at the Park Slope Barnes & Noble. He's promoting the paperback of his Depression-era novel North River, which we already read in hardcover. We didn't buy it but got it at the library, and we think that probably would be okay with Pete, who began by saying how great it was to be back in "the neighborhood that shaped me" and talking about the local libraries which had nourished him.

Hamill said that around the country, people will ask him what it was like to grow up poor in Brooklyn during hard times, and he sometimes will answer that he wasn't poor, because he had companions like Edmond Dantes in The Count of Monte Cristo and Jim Hawkins in Treasure Island. And he got them from the public library.

Discussing the Prospect branch library on 9th Street (its name gentrified in 1975 to the Park Slope branch), Hamill said he still saw lots of kids in there, reading, getting tutored, and making the kind of discoveries he did as a boy. At Grand Army Plaza's central library, there are "immigrant kids at every table, reading their way into America."

Hamill said that Andrew Carnegie is his favorite American millionaire, because he created 1,600 libraries across America (and we love them all, from our Leonard branch library two blocks away to the Carnegie library in Eureka Springs, Arkansas, which we visited every day when we lived there in 2001). As an immigrant kid from Scotland, Hamill said, Carnegie went into the only library in Pittsburgh, a private library, and they looked at his clothes and heard his funny accent and told him to go home, it wasn't a place for him.

The Brooklyn public libraries were definitely a place for the young Pete Hamill.

Last night he talked about recently passing by the corner of 11th Street at Seventh Avenue, where he recalled reading The Count of Monte Cristo, borrowed from the library, perched on a cellarboard. And he talked with passion about reading, about making sense out of symbols on a page, a more active form of entertainment than the TV that would come later.

Hamill discussed New York in general and Park Slope in particular in the bygone eras he writes about in North River and other novels. On V-J Day in August 1945, he said, Seventh Avenue in the Slope erupted in pure joy and confidence as people poured out into the street to celebrate, to the sounds of foghorns and church bells, the end not just of the long war but of 15 years of sacrifice and hard times, starting with the Great Depression.

He read an excerpt from the novel, a story about a World War I (Great War then, of course) field doctor, James Delaney, now a West Village GP with an office hard by the North River, which is what New Yorkers still called the Hudson back then. When Delaney's 3-year-old grandson Carlito is left on his doorstep, Delaney has to deal with his internal depression, his frustrations toward his daughter, and the loss of his wife, who'd run off after he returned from Europe. Delaney hires Rosa, a Sicilian immigrant, to care for Carlito when he's at work. As a doctor, Delaney has connections to all the neighborhood, including the Mafia.

As the story unfolds, Delaney and Rosa grow closer, and the passage Hamill read has him taking her first to Times Square and then for her long-hoped-for night of dancing at Roseland, where a skinny Italian-American singer [Hamill explained that the ethnic slur wop came from "without papers," though we've heard other possible origins] performs such classic 30s songs - meaningful to people going through such hard times - as "You Made Me Love You," "Life is Just a Bowl of Cherries" and the melancholy anthem "Brother, Can You Spare a Dime?"

Hamill reads well, and his evocation of the period, from the movie marquees and billboards in nighttime Times Square and the two-cent-apple lady singing "Mother McCree" to the skee-ball parlors and framed photos of FDR by newsstands awaiting the bulldog editions of the Mirror and Daily News are well-crafted.

It's all nostalgia, of course - something Hamill later said New York City is particularly prone to - and it skirts sentimentality, but we bought it when we read it and we bought it listening to the words last night.

Hamill patiently took lots of questions and told lots of good stories, like about whiling away rainy or wintry Saturday mornings at the Minerva theater on Seventh Avenue and 14th Street, when admission was 12 cents before noon, and how the time a local street gang, the Tigers, surreptitiously used screwdrivers to unscrew a bunch of seats and walked out of the movies with the whole row attached.

The crowd at the bookstore was so large we spent most of the reading unable to see Hamill as the only space was behind a row of biology and physics books. As you might expect for a book that recalls S. Klein on the Square (Union Square for you hipsters) and the fox trot, a lot of the crowd were older, but there were people of all ages, including some twentysomethings standing in the row of books with us. Eventually we found an open space where we could see Mr. Hamill in his signature black t-shirt under a sport jacket.

In response to one of maybe twenty questions people asked, Hamill recalled his famous New York Magazine cover story from July 1969 about growing up in Brooklyn and touting the borough's charms in a time when few tastemakers were looking at Brooklyn with anything but contempt and amusement. We remember getting that issue in the mail and nodding our head as we read it on our bedroom floor.

So, Hamill joked, maybe he's responsible for the current Brooklyn boom and all its attendant pleasures and pains: "the incredible velocity of change." Maybe he is. He may lament the loss of community feeling engendered by the Depression and WWII - how Tammany bosses and neighbors would come to the aid of families struggling with particular hard times - but he celebrates the loss of that sense of menace from rougher days and he sees immigrant Dominicans, Chinese and Mexicans following the same paths as earlier Irish, Italian and Jewish immigrants, "making us feel better about ourselves as a people."

Hamill said a lot more - about his writing habits (he starts every book in longhand for that tactile connection), about comic books and comic strips being great training for creating narratives, about music and New York and education and journalism (he teaches it at NYU).

And Hamill was much more interesting than what we can convey here, but there's one story he told that stuck with us, which related to how he approached being a newspaperman and particularly a columnist writing about ordinary New Yorkers:

He was about 8 and his brother Tommy about 6 and they were going to Pier 88 to watch the wreck of the Normandie as it continued to sink during the final years of World War II. There was a homeless bum begging on the corner, and the boys started making fun of him. Their mom got very angry and yelled at them for ridiculing the man, finally telling her sons, "Don't ever look down on anyone!"

Pete Hamill said those words resonated with him his whole life. He thought of them when he wrote one of his first newspaper stories, about a guy and his family being evicted from their apartment because he'd lost his job and couldn't pay the rent. The day his story appeared in the paper, people called in with job offers and ways to save the furniture on the street from getting wet or ruined.

That sense that the lives of "ordinary" people are worth caring about and writing about is what makes Pete Hamill a terrific writer in North River and his other books.