New Jazz CDs

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Jazz Notes

A spring fling of new jazz CDs

By Greg Cahill

Steve Lacy and Roswell Rudd Monk’s Dream Verve

THE VERVE label does its share of aggressively marketing commercial jazz, but also knows when it’s time pay the jazz gods. Signing these two fiercely independent avant-jazz greats to a major label should appease those deities for quite a time to come. Lacy–a recipient of a 1992 MacArthur Foundation genius award and former Thelonious Monk quintet member–earned his reputation as the undisputed master of the soprano saxophone and as a relentless individualist. Trombonist Rudd has contributed to groundbreaking work with Archie Shepp, Carla Bley, Cecil Taylor, and many others. His solo CDs give new meaning to the term hard-to-find, but are well worth the pursuit. Together, these guys are musical magic–settling over the psyche in often challenging improvisations that never fail to live up to the wild spirit of Monk’s dream. File under: jazz–indeed. Catch them Saturday, March 18, at the Noe Valley Ministry in San Francisco at their only Bay Area performance.

John Scofield Bump Verve

AS A ONETIME member of the Miles Davis Band (from 1982 to 85), jazz guitarist John Scofield is no stranger to jazzy funk. But Scofield all but disowned A Go-Go, his much-anticipated but dreadfully uninspired 1998 collaboration with soul-jazz wunderkinds Medeski, Martin, and Wood–the trio also dissed A Go Go in interviews. This contagiously funky instrumental disc–interestingly with MMW bassist Chris Wood on board–more than makes up for the sins of A Go Go.

Mark Turner Ballad Session Warner Bros.

Known as a hard-driving postbop tenor saxophonist heavily influenced by John Coltrane, the 35-year-old Turner delivers one of the most satisfying collections of jazz ballads in years. His timbre is reminiscent of Trane’s, but Turner has a lyrical sense that surpasses his youth and often reminds the listener of the underrated Frank Morgan. Don’t settle for mundane “dinner jazz” when you can savor Turner’s full-bodied tenor.

McCoy Tyner with Stanley Clarke and Al Foster McCoy Tyner with Stanley Clarke and Al Foster Telarc Jazz

Kenny Barron Spirit Song Verve

PIANIST KENNY BARRON remains one of the most criminally ignored geniuses in the genre. While McCoy Tyner gets a lot of attention these days, despite a technically precise style that is often forgettable 10 minutes after you hear him, Barron has displayed flashes of real brilliance, no matter what the setting. After spending four critical years with Dizzy Gillespie, 57-year-old Barron honed his chops with Yusef Lateef and Ron Carter before recording a CD of brilliant piano duets on the late Stan Getz’s last sessions. His new Spirit Song finds the veteran pianist in an octet with newcomer Regina Carter on violin and with seasoned horn men Eddie Henderson and David Sanchez in an often adventurous series of songs (guitarist Russell Malone shines on the title track). Tyner’s latest disc features some of his prettiest work, but even Stanley Clarke’s long overdue return to straight-ahead jazz fails to inspire him to push the envelope. Still, that’s no reason not to sit back and enjoy the deliciously breezy “Goin’ Way Blues,” which finds Tyner sounding more and more like Vince Guaraldi.

Terence Blanchard Wandering Moon Sony Classical

THEY SAY JAZZ is America’s classical music, and that must account for the number of jazz artists drifting over the the Sony Classical signature. The twice-Grammy-nominated trumpeter–known in recent years for such acclaimed film scores as Jungle Fever and Malcolm X–returns to his hard bop roots with his first album of straight-ahead small combo jazz in five years. With a band that features tenor saxophonist Branford Marsalis, bassist Dave Holland, and pianist Edward Simon, Blanchard deftly blends jazz and classical elements to show why he remains the most innovative of the first wave of young jazz lions.

Dave Douglas Soul on Soul: A Celebration of Mary Lou Williams RCA Victor

DUKE ELLINGTON once said of Georgia-born pianist, composer, and bandleader Mary Lou Williams, “Her music is perpetually contemporary. . . . She is like soul on soul.” Avant-jazz figure Dave Douglas, considered by some to be the most original trumpeter of his generation, pays homage to Williams, who died in 1981, with four Williams covers and several exuberant originals rhythmically inspired by the late jazz great, one of the few jazz instrumentalists to gain acceptance in the male-dominated jazz world of the ’40s, ’50s, and ’60s, and one of the few female bandleaders of her time. This release may be the premiere event of Women’s History Month. Highly recommended.

From the March 16-22, 2000, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Potluck

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Feeling Lucky?

The joys of sharing the pot

By Marina Wolf

IN FOOD, as in everything else, we reject our parents. It starts as early as the high chair, with screaming and strained carrots, and continues until we leave home, swearing that we will never eat that bourgeois swill again. But give us a circle of hungry friends, a limited budget, and a desire for something other than Top Ramen, and we invariably arrive at the solution that generations have turned to: the potluck.

My friends and I discovered potluck in our sophomore year of college, that awkward time of life when the dormitories no longer wanted us, but somehow we still needed to eat every day.

On the outside, our potlucks looked nothing like the church dinners of our parents’ generation–brown rice and soy sauce vs. instant rice in mushroom sauce–but they served the same function: a reminder of community, a dinner-table declaration of interdependence.

Our potlucks kept us sane and social, and supplied a full day’s dietary requirements to boot. They were a taste of utopian socialism: from each according to ability, to each according to need. Those who could cook, did. Those who couldn’t, brought the booze, kept the stereo rolling, or did something–anything–for the edification and amusement of the party.

One boyfriend of mine, for example, could barely make ice cubes, but he played a raucously funny bluegrass guitar, so we let him play and fed him well.

Those potlucks went beyond socializing: they socialized us as well. They taught us to be on time (if I was late with the main dish, all these other starving students would starve for an extra half hour!). They taught us how to shop for things other than corn chips and canned soup.

Above all, they taught us diplomacy and tact. Let’s face it: young adults can be really rude, and some of the dishes brought to our gatherings probably deserved to be roundly mocked for their appearance and inedibility. But we never dreamed of criticizing each other’s food; we didn’t even have a framework for that. We knew nothing yet of flavor affinities or textural contrasts.

All we knew was that we were trying to take care of each other, and if the final dish didn’t fully express the cook’s regard, well, we didn’t take it personally.

The fault was in the translation; effort was what counted. We ate each dish with a deep, if inarticulate, appreciation for the intent that brought it forth.

Of course, good feeling alone does not feed the hungering hordes. As it turned out, research and planning, which defined our college education and drove us nuts, were the very elements that held our feasts together. A strictly laissez-faire approach to potluck brings on the worst sort of luck. Like the Titanic, an unplanned potluck could grind to a shuddering halt, with five tubs of store-bought baba ganoush languishing, pita-less, near three six-packs of light beer. After a couple of such disasters, we delved into The Moosewood Cookbook and Diet for a Small Planet, and explored mixes of tabbouleh and different kinds of salsa. We derandomized the occasion and imposed order on chaos, with phone calls and scribbled charts and lists, sometimes loaning cookbooks in a broad sort of hint.

SO WHY the hassle? Well, it was a little cheaper, in both time and money. Cooking for four or eight takes about as much time as cooking solo (unless you’re doing something with phyllo dough, which was way beyond us, anyway). And since nobody would ever say anything about the results, potlucks were always a great excuse to experiment a little. We all learned a lot in those days, thanks to potlucks. We learned to line our burners with foil, and line our stomachs with something a little oily before pouring any strong drinks. We learned about French presses and tequila poppers, falafel and wild rice. We learned about complementary proteins and room-temperature salads. New ingredients and condiments, such as pesto and chutney and sesame seeds and pepperoncini, emerged at these semi-festive gatherings.

In fact, my first encounter with raw fresh garlic, as opposed to powder, occurred while I was preparing a lentil soup for one of our potlucks.

Heloise would have been proud of the conclusions we reached on our own. But there was no other way to learn. Coming from our mothers, it would not have carried the same weight. We would have brushed off the helpful hints and recipe cards as carelessly as we’d knocked the strained carrots away 18 years before. No, some things need to be learned through trial and experience, some instincts aroused through exposure to the most fundamental choice: share or starve.

SO WE DID. Share, that is. Many of our landmark events–engagement parties, St. Patrick’s Day, finals weekend–were marked by these collective dinners. My girlfriend and I even did potluck for the reception that followed our commitment ceremony. The whole event was BYOE: Bring Your Own Everything. One friend planted cheap annuals along the backyard path that led to our ceremonial space. Another laboriously hand-stitched a memory wall hanging, with the date of our ceremony and a pocket for fabric pens.

We assembled and decorated our own cake, complete with two brides in a lopsided cloud of butter-cream frosting, but the rest of the food was brought by friends and family: piroshki and vodka from my new mother-in-law; crudités from housemates; crackers and cheese from a mutual friend. A fellow from one of my political-action groups outdid himself with fresh figs stuffed with cream cheese. Other than that, it was a simple reception. The food fit (barely) on our kitchen table, and love flavored every single bite.

From the March 16-22, 2000, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

‘How I Learned to Drive’

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How I Learned to Drive.

Survivor’s Tale

Incest wreaks emotional ruin in ‘How I Learned to Drive’

By Daedalus Howell

FOR SOME, the subject of Actors’ Theatre’s production of Susan Vogel’s play How I Learned to Drive may herald a red light. A seriocomic examination of child molestation cozied into a driver’s ed subplot, Vogel’s Pulitzer Prize-winning work offers a disquieting look at the emotional ruin wrought by the unhealthy relationship between an uncle and his niece.

Li’l Bit (Coco Tanner-Boylan) and Uncle Peck (Tim Hayes), nicknamed for their respective genitalia, hail from a white-trash family that boasts more crackers than a Nabisco factory. As Li’l Bit avers early on, “Family is an acquired taste–like French kissing,” and indeed, despite the tawdry aspects of her kin (a collection of mentally compromised freaks), one cannot help but warm up to them through the course of the show.

Though somewhat handicapped by a potholed “road of life” metaphor, Vogel manages several interesting left turns in a narrative that switches from past events to present ruminations. Her script, however, is more than the average survivor’s tale. It is literature of a caliber seldom seen in contemporary theater.

Tanner-Boylan’s portrayal of Li’l Bit is both profound and devastating. One of the more remarkable actresses on the local stage, Tanner-Boylan displays an astounding emotional elasticity. Her character’s laughter gives way to waterfalls of tears in the turn of a phrase, and her jollity melts into melancholy when she delivers such cryptic lines as “That was the last day I lived in my body.”

Hayes’ Uncle Peck is a chilling melange of motor enthusiast and pedophile, deceptively drawn by the actor as a sympathetic character. This challenging interpretation makes Peck simultaneously contemptible and pitiable, and by any measure marks a triumph for Hayes. When Uncle Peck quietly intones, “Nothing is going to happen to you until you want it to. Do you want something to happen?” audiences will surely shudder.

To prevent the show from crossing the double yellow line into serious downer territory, director Sheri Lee Miller adds levity with the hilarious antics of three chorus characters (Sheila Groves, Robert Mateucci, and Laura Odeh), who brighten the stage with song and dance numbers.

Groves also shines during a cameo as Li’l Bit’s mother, who effectively locks the door on future emotional communication by chiding the then 11-year-old character for whatever grief may befall her if she takes a day trip with Uncle Peck.

Though some may find this production troubling or even overwhelming, at the very least it will start one re-evaluating two classic American obsessions: cars and teenage girls. In the capable hands of Actors’ Theatre, How I Learned to Drive garners a well-deserved green light.

How I Learned to Drive hits the stage on Thursday, March 16, at 8 p.m.; on Saturday, March 18, at 4:30 p.m.; and on Sunday, March 19, at 2 p.m. The play continues through April 9 at Actors’ Theatre, LBC, 50 Mark West Springs Road, Santa Rosa. $10-$15. 523-4185.

From the March 16-22, 2000, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Usual Suspects

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Planned November transit measure hits a political roadblock

By Janet Wells

IN THE WAKE of underwhelming voter support for Measure B, its pet widen-the-highway measure, Sonoma County’s pro-development community seems to be busy licking its wounds. It’s got to be a bit embarrassing, after all. With barely a whisper of a campaign, the ballot’s fledgling public-transit initiative, Measure C, mustered more votes than Measure B, whose backers rained down a major blitz the weekend before the March 7 election.

Sam Crump, who spearheaded the Measure B campaign, didn’t return calls from Usual Suspects this week, but his dismay is apparent in published reports: “It’s incredible and absurd,” he says of the election results. “I don’t know if it was a backlash or what. Perhaps the misinformation campaign against us was effective, but I can’t think of anything else we could have done better.

“It’s just very strange.”

The $17,000 “misinformation campaign” of the anti-Measure B forces was successful in thwarting Crump and company’s $827,000 campaign to get the required 66.7 percent of the vote to raise sales taxes. Measure B received 58.4 percent approval for raising taxes one-half percent over eight years to pay for an additional lane in each direction on Highway 101. Measure C received 60.2 percent for raising taxes one-quarter percent over 16 years to pay for local road improvements and public transit.

“I am happily surprised that Measure C did better than Measure B. It demonstrates clearly that there is far more public support for mass transit than for [Highway] 101,” says Mark Green of Sonoma County Conservation Action.

“Some interesting lessons have come out of this,” he adds. “You can’t buy a super-majority under any circumstances. I believe it has always been the back-pocket strategy of business leaders that they would blow right past us with a fat checkbook.”

Green, like many environmentalists, can’t help but gloat just a little over the election outcome. “The big-checkbook employers, the chamber of commerce folks, they have thought of themselves as the rulers of the universe for a long time,” Green says. “In the past 10 years the environmental community has become more and more of a participant, and business doesn’t like it. They are going to have to have some strange bedfellows, and it makes them mad.”

After almost two decades of wrangling over Sonoma County’s increasing traffic problems, and three failed attempts to raise taxes for transit projects, it might seem that the area’s diverse population is fatally at loggerheads. Another ballot measure in November is unlikely. But efforts are once again under way to forge a workable détente.

Rick Theis, chairman of the Sonoma County Transportation and Land-Use Coalition, sent a letter last week to Sonoma County Supervisor Mike Reilly, chair of the Sonoma County Transportation Authority, calling for a regional transportation summit.

THEIS envisions a summit that includes representatives of various community groups, the Metropolitan Transportation Commission, and CalTrans, “so we have definitive answers on what’s in the pipeline and what we can expect to be funded from gasoline taxes and state and federal sources of revenue,” he says. “Until now, it has been our camp against your camp. This kind of narrow-minded thinking has no future when it comes to planning for our quality of life.”

More discussion sounds good to AnnaLis Dalrymple of Greenbelt Alliance, as long as the “average community citizen” is invited to the table and growth and long-range planning are part of the focus.

“We have got to find a holistic solution,” she says. “There are some issues that are not so obviously transportation that have got to be brought into the discussion–housing, jobs, agricultural land protection–all are issues that have to be part of the solution. We can’t address just one piece of the pie and not expect to have a really messy situation on our hands.

“I’ve talked to people who don’t want to widen the highway or to have a train, because they want congestion,” Dalrymple adds. “They want to prevent growth,” she says. “Road rage is ugly, and it’s not a good idea to keep that frustration.

“But before opening the floodgates for sprawl, we need to have a blueprint for the future.”

From the March 16-22, 2000, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

‘Wonder Boys’

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One-time bad boy Lewis Nordan on the mathematics of writerly failure, the myth of the tortured artist, and the new film Wonder Boys

Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate post-film conversation. This is not a review; rather, it’s a free-wheeling, tangential discussion of life, alternative ideas, and popular culture.

“You know, all things considered,” states author Lewis Nordan, “seven years isn’t all that long. It’s not that long at all.”

Nordan is referring to the seven years that it has taken Grady Tripp–the irresponsible, pot-smoking, writer-hero of the new film Wonder Boys–to compose his second novel, a follow-up to his award-winning first effort, something called The Arsonist’s Daughter.

Owing to the ego-bruising lag time, Tripp (well played by Michael Douglas) has suffered a professional pummeling at the hands of his colleagues and critics, a psychic drubbing that only makes his problem worse.

Nordan is the enigmatic Mississippi-born force behind a wonderful bevy of Southern tragic-comic-folk-cult-favorite novels–Wolf Whistle, The Music of the Swamp, Sugar among the Freaks, and Lightning Song, to name a few. He, too, has gone as long as seven years between books, and yet no one would dream of suggesting that his career has ever been anything like over.

On the contrary, in conjunction with the release of Nordan’s brand-new Boy with Loaded Gun –a jaw-droppingly honest memoir that leaps from the author’s bizarre and magical childhood to his struggles with alcohol, infidelity, and his son’s brutal suicide–booksellers across the United States celebrated the event with such off-beat happenings as arrow-catching contests, massive public Nordan-o-thons, and live llama races.

Grady Tripp should be so lucky.

Wonder Boys is based on the novel by Michael Chabon, a celebrated alumnus of the University of Pittsburgh, which is the main setting of the book and film and the primary location of Nordan’s between-the-books income. He’s been a professor of creative writing there for many years.

And speaking of years . . .

“Seven years really is nothing for a novelist to wait on writing another novel,” Nordan insists. As evidence, he cites the name of Donna Tartt, another Mississippi-born writer and the author of the bestselling 1982 thriller The Secret History. “She gained all that money and fame for her first novel, and yet the second one has never appeared,” he says.

Then there’s Frank Conroy, who published the cult classic Stop-Time in 1967 and didn’t write another book until Mid-Air in 1985. In between, he remained an omnipresent figure at writers’ conferences around the country.

“He was respected and famous even though he didn’t publish any books for years,” says Nordan. “So seven years seems too soon to say that Grady Tripp was all washed up.”

Wonder Boys–with its motley cast of book-writing characters (including Tobey Maguire as a suicidal literary genius and Robert Downey Jr. as a gleefully hedonistic, drug-addled book editor)–is a veritable parade of agonized artists, happily wallowing in their own misery. In many ways, Wonder Boys is about misery. At the very heart of the movie, and to a degree, at the heart of Nordan’s own alcohol-fueled history, there writhes an enduring old myth: that of the brilliant-but-tortured writer.

“Of course, the mythological part is the notion that you need the torture in order to be a writer,” says Nordan. “It’s the idea that if you were to quit drinking or using you would lose the capacity to feel as a writer feels, or to do as a writer must do.

“It’s not that writers don’t act as if that is true,” he admits. “But it still isn’t true.”

Toward the end of Boy with Loaded Gun–which Talk magazine listed as one of 10 books that will “keep you talking all month long”–a now-sober Nordan writes, “Hard drinking was part of the romance of writerly suffering. I sincerely believed this part. When I finally quit drinking years later, I believed that I had also quit writing, the two were so intricately woven into a single fabric in my imagination.”

Did Nordan really believe that sobriety would mean an end to his writing career?

“I did indeed,” Nordan says. “I thought, ‘Well, this is the end. I’ll save my life by stopping my drinking, even though I know my ability to write will fall away.’ But it didn’t. I made this big, melodramatic choice of ‘Life over Art’–and then found out I hadn’t given up art at all. I could have both.”

In fact–mirroring the sentiment of Grady’s concerned student-border, who boldly suggests that her landlord’s writing might go more smoothly if Tripp wasn’t always stoned–Nordan feels that he’s become a much better writer since giving up the bottle.

“Oh, I do,” he says, with a sharp-edged chuckle, “and not just because I’m a living writer instead of a dead one. After I quit drinking–even though I was very frightened, and really couldn’t write for a while–I began to see more clearly, to sense intuitively what I had been doing as a writer, and to recognize what I needed to do to build on that.

“I’m convinced that I wouldn’t have been there without sobriety.”

Which brings us back to Wonder Boys and poor old Grady Tripp, who, in the movie at least, ends up losing almost everything but somehow stumbles into a kind of bittersweet redemption.

“That’s another thing that bothered me,” Nordan remarks. “In the end, Grady’s psychological problems were allowed to just dissipate. We didn’t see how a person comes to grips with his life crashing in on him like that.”

Instead, as in some fairy tale, a wish is made and every problem disappears–without much effort or concentrated self-improvement from Tripp.

“Take it from me,” Nordan says, “whether you’re a writer or not, tortured or not–your life doesn’t get better until you make it better.”

From the March 16-22, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Hoarding

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Clutter Busters

Deconstructing our acquisitive human nature

By Bill Strubbe

THE RED T-SHIRT I usually wore on the job read: “Obey Me.” Though I once did facetiously return to a particularly recalcitrant client’s house with a cat-o’-nine-tails, the whips and paddles in my arsenal were more figurative than literal. That clients had dialed up Clutter Busters was a sure indication that they’d already traversed some crucial inner line of demarcation to acknowledge that they were helpless helpless: in the face of their amassed junk and in need of a “professional organizer” to help deconstruct their chaos.

Milder cases simply needed assistance in cleaning out the garage or rearranging their home office. Others were truly desperate. One client shoved a dresser in front of a bursting closet; another rented a parking space because his garage was a tinderbox crammed with newspapers; another’s husband had given her the ultimatum–her stuff or him.

It wasn’t until about four months into my moonlighting career that it belatedly dawned on me that these worst-case scenarios were not just lazy stuff-sluts, but that something beyond the pale of run-of-the-mill human behavior was at play here. I should have been forewarned when the caller asked if I had a pickup truck. Still unsuspecting, when the door opened, I was nearly bowled over by the stench.

Recovering from momentary shock, I resisted the urge to pronounce in my best Bette Davis voice, “What a dump”–which it was, literally.

Unless you’ve actually entered a horror house like this, you’ll deem my account more fiction than fact. The five rooms were accessible via narrow trails blazed through waist-high garbage. The bed had long ago disappeared under a drift of clothes, books, newspapers, and unimaginable things. In the kitchen, filthy dishes and pots and pans encrusted with blackened crud were heaped everywhere.

I shuddered as something small and furry disappeared under a pile of boxes. And the bathroom . . . well, I’ll spare you.

Ever optimistic, the man, perched on a corner of the couch–the only uncluttered surface–asked, “Can you do it by Friday? My landlord is going to evict me unless it’s all out.”

When I asked how he planned to pay me, he replied matter-of-factly, “I thought there might be some things here that you’d want in trade.”

Incredulously, as I scanned the room, daftly thinking I might have overlooked a valuable antique or piece of artwork, I realized that all of this stuff was of value to him. My irritation quickly waned in the face of this belated revelation. I wished him good luck and left; I couldn’t wait to get home and shower. Initially, I found them rather pitiful, these crucibles of chaos couched in a myriad of inane rationalizations. But I was being paid–rather well, in fact–so I’d mask my disdain and feign sympathy while the more extreme hoarders dismantled their armor of junk, shielding what I imagined were grievously wounded souls.

The kinks in the psyches behind this passion to amass intrigued me, made me ponder the origins of the acquisitive nature of human beings.

PEOPLE OFTEN wonder what grants me the credentials to be a professional organizer and turn a stranger’s house upside down and inside out. Certainly no college course offers Mess Management 101, but it does help that I’m big, somewhat intimidating, and naturally bossy.

That my decidedly recessive shopping gene manifests an aversion to malls and department stores adds to my résumé. Perhaps because I’ve moved enough times to embody the axiom that a rolling stone gathers no moss, I’ve garnered a modicum of authority to encourage/cajole others to winnow their possessions down to the essentials.

But who among us doesn’t collect something or another? Growing up, I had a penchant for psychedelic Fillmore Auditorium and Avalon Ballroom posters. My sister collected spoons; my mother, native California Indian artifacts; a friend, dead insects entombed in Elmer’s glue. Even the dearly departed aren’t exempt–though it’s highly unlikely they give a damn. The Egyptians established an entire culture around catering to the needs of the dead. In China, thousands of terra-cotta soldiers and horses march into eternity with an emperor.

Apparently acquisitiveness is imbedded in our human genes.

But the boundary between collecting as hobby and hoarding as illness becomes obscured when a neighbor’s collection of 1,455 snails–cuff links, jewelry, ceramics, dishes, carpets, etc.–takes up every square inch of house space; or when Aunt Nell must rent a storage unit to house her collection of books, most of which she’s never read and never will.

My first encounter with pathological hoarding was at a relative’s. Her living room’s most impressive feature–besides the hideous stench–was the endless stacks of newspapers and magazines covering floors, tables, couches, and chairs. When I asked why, she explained that she planned–someday–to clip out interesting articles for a folder. She added that the newspapers kept the cats–she had dozens of them–from climbing up and peeing on the chairs, except for the one unobstructed armchair in the corner, whence arose the stink.

My subsequent experience with hoarding occurred in Israel, where I lived on a kibbutz. While taking afternoon tea at an elderly couple’s house, I went to retrieve sugar in the kitchen. I opened the cupboard and was startled to see enough provender and supplies–distributed free on the kibbutz every week–to last half a lifetime.

I snooped into other cupboards, and it was the same: top to bottom with soap, toothpaste, shampoo, vanilla packets, baking powder, raisins, nuts, powdered tahini, Osem soups, matches, toilet paper, matzos, Shabbat candles, etc. Later, I learned that they had both survived World War II.

Though they now live in a relatively safe place, their psyches, forever scarred by lack and deprivation, have made manifest in cupboards and closets the corollary “I shall not want” to their pledge of “Never again.”

AS A COUNTY mental health worker in California, Jane Walberg encountered numerous intractable hoarders and related this story about a former resistance fighter in World War II. “Inside her front door was a dead cat being eaten by creatures,” Walberg recalls. “To get from one room to another you had to crawl on your stomach over mountains of garbage that reached almost to the ceiling. Her husband, who drank heavily, moved out to the garage, then moved back into the house.

“He died, and two weeks later they found his body buried in all that stuff.”

At first glance, to a novice like me, hoarding seemed to be engendered by a scarcity mentality anchored in some past trauma–the Holocaust, the Depression, or unpleasant familial experience. Formerly, behavioral scientists believed that excessively rigid childhood family relationships played a role in obsessive-compulsive disorders, or OCDs.

But it appears that hoarding, like an increasing number of aberrant behaviors, is not the roguish choice of a free will, but is in the sway of some molecular imbalance, a fluke of chemistry.

When asked what I wanted to be when I grew up, it’s not as if I replied, “Oh, maybe a fireman, a doctor, or a professional organizer.” My Clutter Buster career didn’t coalesce until decades later, after I tackled–and perversely enjoyed–organizing a friend’s immense basement, consolidating all like items, such as light bulbs, paint cans, Christmas decorations, tools, and pink tulle, in one place.

Friends joked that maybe I could earn money from this new “skill.” Later, I discovered in the Yellow Pages six listings under professional organizers and then bumped into an old friend exploring the same line of work. He invited me to attend a meeting of the local chapter of NAPO, the National Association of Professional Organizers. Seventy people attended–all women except for four men–and, as you might well imagine, the meeting itself was very organized. With about 1,600 members nationwide and an annual national convention, the association demonstrated that professional organizers are in a booming business. Encouraged, I placed a few ads in local rags and made a go of it.

Then, by word of mouth, business took off.

The general plan of attack was this: one pile for the garbage bin; one for the Goodwill (if you hadn’t worn/used/tasted it within a year, it was out); one for items to give to friends; the rest to keep. Negotiations were allowed–though I usually prevailed–and when a stalemate was reached, there was the “Maybe Box” for the terminally indecisive. The operative words here were “Obey Me,” and my clients usually did. Though I’d kid around to try and make it fun, I was one strict mother (fucker) superior, and occasionally I made people cry.

Over time, as I learned more about hoarding, my harsh judgments–perhaps backlash to my own closeted acquisitive inclinations (occasionally I kept for myself choice items being tossed)–were mitigated with a modicum of compassion.

Hoarders are not just bums; they truly cannot help themselves.

“A hoarder perceives a great need for a particular piece of junk,” explains Sanjaya Saxena, M.D., assistant professor in UCLA’s department of psychiatry and director of its Obsessive-Compulsive Research Program. “A plastic McDonald’s cup may be junk to anyone else, but a hoarder may inexplicably express some sentimental attachment to it, or [not] want to throw it away because there might be something valuable inside (money, jewelry, lotto tickets).”

“They always have come up with some reason or future need for it,” explains John Gillette, M.D., staff psychiatrist with Community Mental Health and Older Adult Services in Santa Cruz. ” ‘I’m saving it for my grandchildren,’ or ‘I love literature and am going to read that book someday.’ They know enough to put you off with a logical excuse.”

IN OCD’s extreme form, even bodily excrement is not exempt from being saved. An elderly woman and her grown son used the guest bedroom as their lavatory. Another wouldn’t flush her excrement down the toilet, saving it and her urine instead in Tupperware. One man shat in his socks, then returned them to the drawer.

Scavengers, pack rats, and junkaholics are lay terms, but the clinical appellation for their disorder is obsessive-compulsive hoarding–defined as “the acquisition of and failure to discard possessions which appear to be useless or of limited value,” a relatively new frontier in psychotherapy circles.

Although hoarding behavior may manifest in people suffering from psychosis, brain damage, or dementia, most severe hoarding appears to be a subtype of OCD and is usually coupled with other OCD behavior such as compulsive counting, hand washing, checking (making sure the stove is off), and organizing (never mind!)

Studies carried out by an expert in the field, Randy Frost, Ph.D., and a National Institute of Mental Health survey, both estimate that between 2 and 3 percent of the population suffers from OCD–creating around $8 billion annually in social and economic losses, with about 15 percent to 30 percent of those OCD sufferers experiencing hoarding as their primary symptom.

“OCD hoarding is an extremely confounding disorder, difficult to treat, and in severe cases life threatening,” explains Dr. Gillette, who has worked with the elderly for more than 25 years. “Outdated food spoils, accumulated food and feces breed health problems, little critters move in, and stacked newspapers and magazines become fire hazards.”

Indeed, a friend’s mother’s house which was crammed from basement to attic with garbage, burned to the ground last year.

In one study of children who suffered from OCD, 20 to 70 percent of first-degree relatives also exhibited significant signs of OCD. It is now widely believed that hoarding, like other OCDs, has a strong genetic component and often runs in families, as in Barbara’s.

Both of Barbara’s parents were hoarders, and as a child she collected rocks, shells, leaves, and flowers pressed in books, and assorted insects kept in jars for show-and-tell. She particularly treasured books–“I go into a trance when I look at books,” she says.

Now, at 62, Barbara has walls lined with tomes. Her collection–estimated at 50,000 editions–rivals the stock of nearby bookstores. Her formidable stash also includes LPs, videos, audiocassettes, computer stuff, tools, craft materials, odd pieces of fabric, beads, shoes, hats, gloves, scarves, purses, tote bags, cat paraphernalia, radios by the dozen, mirrors, beer steins and liquor glasses, ashtrays, exercise gear she never used (she’s “exercise intolerant”), baskets, and advertising art like “Absolut Vodka” and “Got Milk.”

All this booty is stashed in her 12-by-16-foot single-wide mobile home, which she has humorously dubbed her “Pack Rat Aversion Therapy Center.” A narrow “goat trail” necessitates scooting sideways from the front door, down the hall, and into the kitchen, which she can barely use. She fears that “the floors may cave in under the load” and that the Health Department or the manager of the complex will evict her.

The medically prescribed Paxil that Barbara takes daily has helped combat her depression and anxiety, but hasn’t stemmed her hoarding. She carts off or gives away as much as possible to charities or friends, but the more she takes out, the more comes in. “I go to thrift shops to donate and can’t resist looking,” she explains.

“Recently I was going to give myself five minutes in the Goodwill, but saw a familiar face and stayed two hours. It’s my favorite place to socialize.”

INDECISIVENESS and procrastination, along with magical thinking and repetitive rituals to stave off anxiety and panic attacks, are often symptomatic of OCD behaviors. “I often pray and sometimes even believe that I will go to sleep and wake up and this will all be a bad dream,” Barbara says, petting one of her cats.

“Sometimes I feel so overwhelmed that I just scream inwardly or sit and cry. If I pray when I go to sleep that I won’t wake up, then I worry about what will happen to my cats.”

As with Barbara, early signs of hoarding generally manifest in adolescence, gradually intensifying in later years. Many victims lead otherwise normal lives and may feel a sense of embarrassment or shame about their hoarding, while others are unable to acknowledge that their behavior is peculiar. Their preoccupation with hoarding will eventually come to exclude work, family, and friends.

“Whereas most people with OCD are aware that their behavior is out of control, OCD hoarders usually lack that insight or don’t think that it’s that unusual,” says Dr. Saxena.

“Inevitably it’s a family member or friend who brings them in for therapy, and they’re unusually difficult to treat.”

As hoarders age, they face an escalating series of stress factors–loss of control over children, retirement, death of a spouse, impending illnesses, diminished ability to care for themselves, etc., and hoarding is the imaginary line of defense in the face of inevitable loss of control.

As the baby-boomer generation grays, it’s likely that society can expect an increase in hoarding, especially dementia-related.

“The average age for those with hoarding problems is about 50, and many are older,” says Gail Steketee, professor at the Boston University School of Social work.

“There’s a growing concern on the part of elder service workers about hoarding and how to manage its potential consequences, such as fire, risk of falling, inability to find medications, etc.”

ONCE A HOARDER crosses the hurdle of seeking help, the physician must determine the actual underlying cause. Successful treatment for OCD hoarding, which generally reduces symptoms only 50 to 80 percent, includes therapeutic, environmental, and psychopharmacological aproaches.

Therapeutic behavioral treatment for OCD hoarding involves five steps: helping hoarders understand how out of control and damaging their behavior is; cognitive restructuring, helping hoarders identify their thoughts and beliefs about hoarding, and challenging these attitudes by employing particular techniques; improving their organizational and decision-making skills; teaching hoarders how to tolerate the fears while “excavating” their space and becoming habituated to the anxiety; and enabling them to maintain their space–canceling subscriptions and credit cards, no stopping for yard sales or malls.

The first line of medications to combat OCDs and OCD hoarding is serotonin reuptake inhibitors, or SRIs, such as Paxil and Zoloft, commonly used as antidepressants.

“For some unknown reason, hoarders often don’t respond to SRIs, which tells us this may be a unique neurological subtype,” explains Dr. Saxena, heading a three-year UCLA study.

“There’s a likelihood that OCD hoarders exhibit unique patterns of brain abnormalities, different from those of other OCDs, which will enable us to direct our research into other drugs.”

Words of hope for those whose cluttered lives have become a living hell.

Since most of my Clutter Buster clients had money to spare, I couldn’t help wondering whether hoarding was perhaps more prevalent among the wealthy, a symptom of a creeping cultural emptiness. But then we’ve all seen street people shoving shopping carts bulging with God knows what.

Maybe the difference is that the rich possess the means to acquire their stuff with credit cards at Bed, Bath, and Beyond or Macy’s, while the street lady gathers hers by hand from gutters and dumpsters.

I WONDERED if people in India, Albania, or Sierra Leone suffer from OCD hoarding to the same degree as Westerners do. The few cross-cultural studies (one in particular done in Egypt, and others currently under way in Italy and Australia) show that hoarding does, indeed, cross cultural, ethnic, gender, and economic boundaries.

“It seems that economics doesn’t have much to do with acquisition or saving, though those with money may save more expensive items than those with little money, who might collect free or inexpensive items,” explains Dr. Steketee.

Dr. Saxena conjectures that hoarding lacks natural control systems and is an evolutionary adaptive behavior gone awry. Hoarders, who simply cannot control themselves, have taken our pathological national pastime of acquisitiveness, magnified it a thousandfold, and reflected back to us the void of our rampant materialism.

Perhaps, for the spiritually deprived, amassing stuff keeps their minds on a permanent detour.

One 56-year-old hoarder shared the following: “There is not a moment that loop tape of inner dialogue isn’t playing, even in my dreams: ‘Another day, the same mess. Why can’t I be organized like other people? I’m not a stingy person–how did I become a hoarder?’

“In all these boxes are my fulfilled and unfulfilled dreams, my memories of people, my attempts at having a life, my good intentions.

“It wounds my childish id to admit that these things–all this flimsy evidence that I have even existed–matter to no one else but me.

“Mere ashes in the winds of time.”

Years ago I was impressed enough with an anonymous poem I came across to write it down: “The more I have, the more I want. The more I want, the less I have. The less I have, the less I want. The less I want, the more I have.”

A simple formula for a happier life.

Bill Strubbe, a freelance writer and photographer, lives in a yurt on a hillside in Occidental.

From the March 16-22, 2000, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Film Discussion Groups

0

Talking Pictures

Local Film discussion groups bring Hollywood down to Earth

By David Templeton

“HAVE YOU EVER noticed,” asks Gary Sherwood, “that no one in the movies ever takes a blow to the head unless they’re standing in front of a spotless white wall?”

Sherwood is in fine form tonight, musing aloud about the bloody climactic scene in the Oscar-nominated American Beauty. Around him are gathered a dozen or so fellow film buffs, enthusiastically discussing this year’s Academy Award nominations, in the back of Barnes & Noble in downtown Santa Rosa.

Outside it’s raining cats and dogs, but deep inside the sprawling bookstore, the participants are enthusiastically defending or bitterly denouncing the Academy’s choices. The conversation is fast-paced and unpredictable.

“How come John Turturro didn’t get nominated for doing the voice of the voice of the dog in Summer of Sam?” someone wants to know.

Upon noticing that The Phantom Menace didn’t receive any major nominations, one woman remarks, “I feel sorry for George Lucas.”

“Don’t do that!” Sherwood exclaims, eyes widening in make-believe shock. “Don’t ever feel sorry for George Lucas.”

THAT’S THE SCENE every other Tuesday night, when some of Sonoma County’s most dedicated film buffs have an ongoing appointment, gathering here to take part in Sherwood’s Reel Time film discussion group.

Sherwood, a 35-year-old local screenwriter who teaches screenwriting courses at adult schools in Petaluma and in Sonoma and also hosts a midnight radio show, “Rhythm and Blues Rendezvous,” on KRCB on Fridays, began the popular open-forum discussions in January of 1996. A hit from the start, the group has an average attendance that now runs between 20 and 40 people, though there have been some big spikes. Over 100 people were on hand when Sonoma director and animator John Lasseter (Toy Story; A Bug’s Life) made a special guest appearance last year.

According to Sherwood, who combines the best elements of a walking film encyclopedia and a stand-up comic, his group’s attendees are a mixed bunch. They range from hardcore cineastes like himself–people who see every movie, know which directors went to which film schools, and can name their favorite key grips–to those less obsessive film fans who enjoy films but hardly live and die by them.

“There’s always a fun group dynamic, with lots of lively argument and debate,” says faithful attendee Diane McCurdy, a longtime Santa Rosa movie enthusiast and outspoken KRCB radio film critic. “It’s always entertaining. I’m addicted.”

She’s not alone. Now four years old and counting, Reel Time ranks as Barnes & Noble’s longest-running in-store event. Even filmmaker Brian DePalma, visiting the area a few years ago to scout locations for a film, was drawn to attend. Stories are still being told about the night the famous director, unrecognized at first, sat in on a spirited discussion of Steven Spielberg, not revealing his identity until the very end.

Diversity, Sherwood says, is the key to the group’s success. But there’s also no doubt that many of the longtime members are here, at least in part, because of Sherwood himself.

“We really like Gary,” says Ray Hoey. “A lot of the time, he’s more entertaining than the movies we talk about.”

FILM GROUPS such as Reel Time are on the rise. Though not as common as book discussion groups–which have become so popular in recent years that publishers are now printing special “book group” editions of certain titles–film discussion groups are starting to pop up all across the country, with an unusual number appearing in our own backyard.

For over 10 years now, Jim and Shirley Costa have been participating in film discussion groups, organizing “cinema circles” from San Diego to Ashland to their current home in Rohnert Park.

Sponsored by the Unitarian Universalist Congregation of Santa Rosa–of which the Costas are members–the film-savvy twosome’s latest movie group, called “We’re Talking Pictures,” meets monthly in the homes of regular participants, where the conversations tend to be lively, passionate, and political.

“We try to select films that deal with social issues,” says Shirley. “After The Green Mile, we had quite a discussion about capital punishment. Smoke Signals gave us things to talk about, of course. And Eyes Wide Shut provoked a lot of discussion. A lot of people didn’t understand it, a lot of them didn’t like it–but they sure had a lot to say about it.”

Each month someone chooses a film for discussion, and those who’ve seen it gather to talk about it. Costa admits that she enjoys the discussion groups best when everyone sees the chosen film, whether it’s a film they’d normally choose to see or not. Like Steven Soderbergh’s Kafka.

“No one wanted to see it at first,” she admits, adding that the ensuing conversation was one of the richest she’d ever experienced.

“Some of the most interesting films I’ve ever seen were films I’d never have seen if someone hadn’t made me,” she says with a laugh. “The whole thing about going to the movies is to open yourself up to a new experience, to take on a new way of seeing the world.”

THAT SAME philosophy, more or less, motivates the weekly film-and-discussion series that started at Petaluma City Hall last November.

Run by a collective of volunteers representing four organizations–Petaluma Progressives, Dialogue on Race, Sustainable Petaluma, and Independent Filmmakers–the increasingly popular program screens a different documentary film each Friday night. The movie is followed by a moderated discussion, which often features invited guests familiar with the issues of the film.

Recent events have included films about Jack Kerouac and the poet Rumi.

“The discussions are always pretty exciting,” says Beth Meredith, one of the organizers. “It’s unpredictable. It’s great. That’s why we do it. Mainly, we’re doing this to raise awareness of important issues. The discussions afterwards, as the community comes together to share different perspectives, is where the exciting stuff happens.”

“To my mind,” adds fellow organizer Natalie Peck, “this is one of the most exciting things happening in the county.”

For information on the Unitarian Universalist “We’re Talking Pictures” group, call Shirley Costa at 795-4877; and on the Petaluma series, call 763-1532.

From the March 16-22, 2000, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

‘Judy Berlin’

Judy Berlin.

Rare Bloom

‘Judy Berlin’ is everything that ‘Magnolia’ wanted to be

By Richard von Busack

MAYBE IT’S BECAUSE it was shot in black and white. Or blame it on the fact that it doesn’t star anyone under 30, or that its biggest names are only semi-famous performers like Madeline Kahn and Bob Dish, or that its delicate, shadowy mood might feel depressing to the shallow viewer.

But whatever the reason, the 1999 film Judy Berlin didn’t find a distributor until it received a brief showing this month in San Francisco. Now, starting March 17, it comes to UA 5 in Santa Rosa.

The first feature film from director Eric Mendelsohn, Judy Berlin is a comedy with a compassionate sensibility. Yet it’s not at all mushy. Mendelsohn boasts a particular mixture of open eyes and open heart that is almost extinct in today’s film world.

The film takes place during a morning and afternoon in Babylon, a New York City suburb. A housewife named Alice (Kahn) awakes, trilling her love for her husband (“My paramour!” she calls him). But Arthur Gold (Dish), her husband, is nobody’s idea of a paramour. He’s a middle-aged elementary-school teacher facing a sunless day at work, and he looks at her, unable to comprehend her mood.

Watching the couple is their son, the bitter comic relief in the marriage. David (Aaron Harnick) is a budding filmmaker who has recently moved back into his parents’ house from Hollywood. What happened to David on the Coast isn’t described. It doesn’t have to be. From his look of dejection, we can tell that he’s certainly had his ass handed to him by the film industry.

Facing a day of wandering, with the idea of making a documentary about suburban Long Island, David encounters a woman from high school: a naïve aspiring actress named Judy Berlin (Edie Falco of The Sopranos).

Judy is planning to catch a plane that night to Hollywood to make it big. David, who can’t bear to disillusion her, is heavy with the knowledge of what awaits her there.

The day is interrupted by a total eclipse, which doesn’t end. The strange phenomenon, which only mildly puzzles the characters, reflects their strayed happiness.

Judy Berlin gives us the last of Madeline Kahn, who died last December. Alice Gold is Kahn’s best performance. She shows her usual humor in the fussy, interfering quality of Alice. But this role is comedy on the edge of tragedy. All day long, Alice is pestered by a childhood rhyme she can’t remember, and she has pushed a bit of her own bad behavior right out of her mind.

Falco, a goofy Long Island sprite, leavens this astonishing debut film. Far more than a caricature of a bad actress, she turns out to be the smartest person on the screen. There’s hope here, and that sense of budding possibility makes Judy Berlin everything Magnolia sought to be. Here’s a mix of lost people, caught in coincidence, tied together by a magical-realist event.

At times, Judy Berlin is as elating as the films of the great humanist directors: Renoir, Ophuls, and Mizoguchi. Mendelsohn takes elusive experience and loss and distills these fragile emotions as only an extraordinary director can.

‘Judy Berlin’ opens Friday, March 17, at UA Movies 5, 547 Mendocino Ave., Santa Rosa. For details, see Movie Times, page 48, or call 528-7200.

From the March 16-22, 2000, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

‘The Cup’

The Cup.

Tibetan Goals

Even Buddhist monks get a kick out of soccer in ‘The Cup’

By Heather Zimmerman

SOCCER FANS don’t have the best reputation, but you’ll probably never find a group of soccer fanatics who exert more self-control than those in The Cup, a film inspired by the true story of how a Tibetan Buddhist monastery got caught up in 1998 World Cup fever.

Writer/director Khyentse Norbu, himself a Tibetan Buddhist lama (said to be an incarnation of a revered religious reformer), helms a cast made up almost entirely of practicing Buddhist monks who live at the monastery where The Cup was filmed.

The inexperience of the actors doesn’t really show, but The Cup is slow going at times–this is, after all, pretty much an entire film about monks deciding to watch TV. But Norbu carefully and quietly unfolds this simple tale, and that isn’t all bad in these days of the much-abused jump cut. In fact, this slower-paced storytelling offers a contrast with most Western styles, further illustrating a major theme of The Cup: how the outside world encroaches daily on Tibetan Buddhist religious life and how the monks find ways to adapt to it.

The Cup is set in a Tibetan monastery-in-exile in India, home to monks who have fled or been forced out of Tibet. This monastery offers a kind of political sanctuary, as well as a spiritual one, taking in Palden and Nylma (Kunsang Nyima and Pema Tshundup), two refugee boys from Tibet. The film incorporates many scenes of Buddhist rituals, which add striking visual interest.

Unexplained as they are, these religious rites seem just as mysterious to new arrivals Palden and Nylma as they must to an audience largely unfamiliar with Tibetan Buddhism. We don’t really get much of a sense of the boys adapting to their new lives, beyond their befriending some young monks obsessed with soccer, in particular Orgyen (Jamyang Lodro), who organizes secret trips to the village to watch the World Cup playoffs.

And among the younger monastery residents, Norbu hits on a theme even more universal than a passion for soccer: that kids will be kids. Harmless mischief abounds among the young monks. The boys’ antics earn them plenty of punishment, meted out by the stern headmaster, Geko (Orgyen Tobgyal), but he shares their love of soccer and eventually obtains consent from the abbot for the monks to watch the World Cup final on a rented TV.

Certainly, it’s a little startling to see a bunch of monks rigging up a satellite dish on the roof of their monastery–the incongruity of it reminds me of the priest who swore like a sailor at a funeral I once attended. With Tibet being a Hollywood cause célèbre–and Buddhism the religion du jour–it’s interesting to see a Tibetan reaction to Western culture. Neither gratefully nor regretfully, The Cup responds to the West with a shrug of resignation. The film itself invites the same kind of amiable ambivalence.

The Cup opens Friday, March 17, at Rialto Cinemas Lakeside, 551 Summerfield Road, Santa Rosa. For times, call 539-9770.

From the March 16-22, 2000, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Pico Iyer

Time Travel

‘The Global Soul’: a fast-paced tour

By Michelle Goldberg

PICO IYER is the poet laureate of wanderlust. His perennial subject is the strange confluences and poignant idiosyncrasies born of our world’s dissolving borders, and he explores it with a rich mix of astonishing erudition and wide-eyed wonder.

Born in England to Indian parents, Iyer lives in Japan and California and spends much of his life in airplanes–he’s very much the definition of a cosmopolitan. Nevertheless, his books don’t lord his vast experience and worldliness over the reader, nor does he play the authenticity games common to writers addressing multiculturalism. He’s never jaded, and his prose fairly glows with wry exuberance and fresh delight.

Although he’s also written fiction, Iyer is best known for his travelogues, especially the remarkable Video Night in Katmandu and Falling off the Map. His prose makes one want to leap on the next plane out of the country, but Iyer is far more than a tour guide: he’s a mandarin philosopher illuminating a shifting, melting world. Nowhere is that more evident than in his latest collection of essays, The Global Soul: Jet Lag, Shopping Malls, and the Search for Home (Knopf; $25).

A kaleidoscopic look at the global village created by immigration, high-tech communications. and international hypercapitalism, Iyer’s book examines questions of identity and community in a world of constant flux, burrowing into the nuances of multiculturalism.

There’s a meditation on Los Angeles International Airport–Iyer makes us see that airports in general are “the spiritual center of the double life: you get on as one person and get off as another.” Another essay takes us to luxury apartments located in Hong Kong shopping malls, which cater to busy executives who treat home as a kind of extended hotel stay. He celebrates Toronto–the most multicultural city in the world–even as he slyly eviscerates Atlanta in a fascinating piece on the Olympics (fascinating even for a reader whose feelings toward sports range from indifference to loathing).

Surprisingly, in Japan–a country that many see as the world’s foremost example of globalization’s surreally homogenizing effects–Iyer sees a kind of truce between the urban anonymity of worldwide capitalism and the importance of private life. To him, Japan is comfortable celebrating surfaces and rapidly appropriating international influences because it has a secure sense of itself.

The book is permeated by this sense of the importance of an internal stability that doesn’t require stasis. A chapter centered around Iyer’s friend Richard, a Hong Kong-based “flexecutive” who lives much of his life on airplanes, regularly circles the globe in a matter of days, and conducts his business in the ether of phone, fax, and e-mail, is enough to make even the most compulsive traveler dizzy.

Yet Iyer calls Richard “one of the most human people I know, loyal and affectionate and strong enough to root himself in something other than the circumstances of his life.” While The Global Soul isn’t even remotely didactic, one comes away from it seeing such strength as crucial.

That’s never more true that when Iyer is writing of global lost souls. “[T]he unhappiest people I know these days are often the ones in motion, encouraged to search for a utopia outside themselves, as if the expulsion from Eden had been Eden’s fault. Globalism made the world the playground of those with no one to play with.”

Iyer’s opening and concluding essays imply his ethic of rooted rootlessness. He begins with a story about his parents’ house burning down, relieving him of all his works in progress and mementos, and ends at his new, “alien home,” in Japan, where he finds peace in living an almost monastic life in a culture that will never really embrace him.

In The Global Soul, jet lag is both a metaphor for the disorientation of our centrifugal lives and the physical symptom of them. And while jet lag can be debilitating, most frequent travelers know that it can also be a weird kind of high. “[I] find myself revved up, speedy, all adrenaline as I touch down, with my mind turned off and my defenses flung open,” Iyer writes.

Few of us could live in such a state for long, but we’re lucky that Iyer can. His openness and vertiginous insights make the whole world seem both exotic and familiar, and can even help us get our bearings on a planet that sometimes seems to spin so fast that we’re about to fall off.

From the March 16-22, 2000, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

New Jazz CDs

Jazz Notes A spring fling of new jazz CDs By Greg Cahill Steve Lacy and Roswell Rudd Monk's Dream Verve THE VERVE label does its share of aggressively marketing commercial jazz, but also knows when it's time pay the jazz gods. Signing these two...

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Time Travel 'The Global Soul': a fast-paced tour By Michelle Goldberg PICO IYER is the poet laureate of wanderlust. His perennial subject is the strange confluences and poignant idiosyncrasies born of our world's dissolving borders, and he explores it with a rich mix of astonishing erudition and wide-eyed wonder. ...
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