[My blog posts these days are largely drawn from my current writing project, the first draft of my memoir: Nested Scrolls.]

1960 was my brother Embry’s last summer at home before college. To be further from my parents’ scrutiny, he’d moved his dwelling into the basement of our house. He had shelves of hot-rod magazines, copies of Dig magazine, a set of bongo drums, and dozens of back issues of Evergreen Review. My friend Niles and I began spending time in Embry’s lair, even when he was there.

Niles thought the hot-rod magazines were absurd. “Look at this ramshackle jalopy,” he said, dismissively tapping the picture of a championship dragster. “What a piece of crap.”

“That car goes a hundred and sixty miles an hour,” Embry testily responded.

“Sure,” jeered Niles. “Off a cliff.”

When I realized that the Evergreen Review magazines had curse words in them, I began combing through them when I was home alone—looking for pornography. But that wasn’t exactly what I found. Instead I found a career.

One particular excerpt of William Burroughs’s Naked Lunch utterly blew my mind, it was about junkies and hangings and weird sex, written in a hilariously in-your-face dead-pan tone, utterly contemptuous of any notion of bourgeois propriety. Burroughs was a banner to salute, an anthem to march to, a master to emulate.

Embry’s Evergreen Review stash was a treasure trove—I found poems by Allen Ginsberg, writings by Kerouac and, somehow the most heartening, story after story by beat unknowns. Men and women writing about their daily routines as if life itself were strange and ecstatic.

Niles and I found an anthology in the library called The Beat Generation and the Angry Young Men, and this was where we first saw Ginsberg’s Howl. We read that amazing poem out loud to each other, reveling in the bad language and bad attitude, staggered by the sense of liberation.

And from here it was a short hop to Jack Kerouac’s On the Road. This book spoke to me like none I’d read before. To be out in the world, free as a bird, drinking, smoking, meeting women and yakking all night about God—yes!

At the same time, Niles found a book on Zen Buddhism by Allan Watts and, in a slightly different vein, he discovered Edwin Abbott’s Flatland.

“It’s this weird flat world where the people are lines and triangles and other shapes. The main character is this guy called A Square.”

“How does it rain?”

“The rain is like a band of water that slides across the world. Never mind that. The neat part is that A Square travels up into our space. And then he comes back and tries to teach the Flatlanders about the mysterious third dimension, and the High Priest throws him in jail.”

I didn’t see how to fit all my new literary influences together until, when I was in the hospital after rupturing my spleen, my mother brought me a paperback copy of Untouched By Human Hands, a collection of science-fiction tales by Robert Sheckley.

Somewhere Vladimir Nabokov writes about the “initial push that sets the heavy ball rolling down the corridors of years,” and for me the push was Sheckley’s book. I thought it was the coolest thing I’d ever seen. Not only was Sheckley’s work masterful in terms of plot and form, and it had a jokey edge that—to my mind—set it above the more straightforward work of the other SF writers. There was something about his style that gave me a sense that I could do it myself. He wrote like I thought.

From then on, I knew in my heart of hearts that my greatest ambition was to become a beatnik science fiction writer.

When I was a boy, my friend Niles and I spent a lot of time on Saturdays exploring the new houses under construction in our neighborhood. The workmen took Saturdays off, so we had the houses to ourselves.

We’d search for the metal slugs that punched out of the electrical boxes, hoping to pass them off as nickels in Coke machines. We’d feed discarded lunches to Muffin until she threw up. We’d pee on the blueprints. We’d climb around the giant mounds of dirt from the basement excavations, and throw clods at each other.

Once we climbed a long ladder to the half-shingled roof of a new house. I went second at the top, I somehow managed to kick backwards against the ladder. It teetered and toppled to the ground. Niles and I were stranded and the sun was going down.

A neighborhood kid we called Danny Dogbutt chanced past.

“Push up the ladder, Dogbutt,” called Niles. “We’re stuck.”

Danny offered no response whatsoever. He stared at us as if he were deaf, the sun glinting off his thick glasses.

A little later my father appeared, walking down the road in his shirtsleeves. Dogbutt ha squealed to him. But Pop thought our predicament was amusing. He pushed up the ladder, gently admonished us not to climb on roofs again, and led me home.

We were glad it wasn’t Niles’s father whom Danny had fetched. He was a little stricter than my dad.

[My friend Jon Pearce.]

Once Niles’s father got quite worked up when he found Niles looking at picture of naked women in his attic. He burned the pictures in the furnace, even though it was summertime. I’d loved one of those pictures in particular, of a long-haired naked woman holding a violin.

Niles and I had found the pictures at a quarry that was a couple of miles from our house. This was a fascinating place, with sheer limestone walls over a hundred feet tall. It wasn’t much in use, so we could poke around there as much as we liked, particularly on weekends. There was a good path to the quarry along a stream that ran through the Keiths’ pasture.

When we were at the quarry, Niles loved to sit on the bulldozers and cranes and pretend he was driving them. He’d slam around the gearshift levers and make motor noises with his mouth.

The dirty magazines on the site had been left there by the workers, it may have been that they were tearing out pages for toilet paper. Niles and I salvaged a few dozen good photos. I was scared to bring any of the pictures home, as my Mom knew every square inch of our house at all times. But Niles, whose mother was equally observant, had taken the reckless chance of keeping the precious documents in his attic.

One day, coming back from the quarry, Niles and I made our way up one of the cliffs and found a new way home. We passed through an amazing, spooky zone that we never managed to revisit again—as it was so difficult to get there.

In this curious region, the limestone had been irregularly eroded so that we were walking as if in a labyrinth, the smoothly worn walls reaching up to our chests or even over our heads, the passageways branching and merging.

“This is so cool,” I told Niles. “It’s like science fiction.”

Growing up in the outskirts of Louisville, Kentucky, my absolute favorite reading materials were the Donald Duck and Uncle Scrooge comic books. Once a week I’d accompany my mother to the A & P Supermarket, and she’d give me a nickel for a comic.

[My friend Gunnar with his beehive.]

I loved the irreverence of the ducks and the energetic, abbreviated way in which their tales hopped from one frame to the next. I learned a lot from those comic books. When grown-ups would ask me how it was that I knew the meaning of some fancy word I might use, I enjoyed telling them I’d learned it from Donald Duck comics.

[Hiking at Castle Rock Park]

By now some of my school friends had televisions. One boy lived within walking distance, and I went to his house to see the Howdy Doody show. It was the first time I’d ever seen a television.

I liked the show a lot, I could hardly believe how great television was—the creamy black and white shades, the hiss of static, the announcer’s rounded tones, the jerky scan across the children in the audience, the hilarious commercials for Ipana toothpaste.

[Inside the Capitol buildng in Madison, Wisconsin.]

There were some great ads for Jell-O as well. In the Jell-O ad, a warm housewife voice would sing-song “busy day, busy day,” as her cartoon icon hurried around. And then would come the Jell-O. And I remmber an ad—for what?—with the tag line, “Chinese baby say…[Product name]!” I loved that the baby. I’d never seen a Chinese person.

I didn’t actually like the puppet Howdy Doody himself—he disgusted me. And I hated his conniving partner Clarabelle the clown. But near the end of the show, they’d air a cartoon, and the cartoons were paradise.

My brother and I worked on our parents, and eventually they agreed to get a television. We went to a department store in downtown Louisville, and Pop negotiated with the salesman for nearly an hour. Embry and I watched a cowboy show on the dozens of display TVs, the horsemen eternally riding down a sandy road beneath dry, spindly trees.

We went home with a Dumont set, a small tube in a cubical yellowish cabinet that might have been particle-board. You could get two channels in Louisville, 3 and 11. And at 4 p.m. on Saturday afternoons I’d get to watch Cartoon Circus.

I worshipped that show. To make it even better, when I watched Cartoon Circus, Mom would give me my one soft-drink of the week, orange soda in a pale green anodized aluminum cup.

Everything about the cartoons was wonderful. The exultant blare of chase music, the high slangy voices, the xylophone sound of sneaking footsteps, the moany-groany graveyards with twisting ghosts, the sarcastic ducks, the battles and stratagems of the cats and the mice.

[My friend Emilio.]

One Saturday afternoon my father for some reason wanted to take me for a drive in the car.

“No, no! I have to watch Cartoon Circus.”

“Oh, don’t worry, we can hear it on the car radio.”

I wasn’t quite sure if watching cartoons on the radio would work—and then, of course, it turned out that there wasn’t any cartoon radio show at all. But I didn’t nag my father on it. He seemed a little sad and distracted. Perhaps he and Mom were having a fight.

I finally sold one of my paintings online last week, “Stun City,” to a nice guy, Michael K., in Germany. If you too want to own an original by me (or a print), check the newly marked down prices. My basement is getting full…

I just finished going over the copy-edits on my novel Hylozoic, which will appear in hardback from Tor Books in, I believe, June, 2008. It’s a sequel to my novel Postsingular, although it’s independent enough to be read on its own.

Today I posted a version of my Notes for Hylozoic, which is a 3 Meg PDF file with lots of hyperlinks, some links are internal links into the notes document itself, some links go into my blog or into the Web at large. There’s a number of illustrations. The notes are 196,000 words long, compared to the 91,000 word length of the actual novel. Maybe I’m starting to think too much…

What is hylozoism?

“Hylozoism (from the Greek hyle, matter, and zoe, life) is the doctrine that all matter is intrinsically alive. Under hylozoism, every object is claimed to have some degree or sense of life.”
— David Skrbina, Panpsychism in the West.

This being election season, I want to drop in a quote from Hylozoic about systems of government.

With the world gone hylozoic, the whole idea of governments based upon human power elites was seeming increasingly dumb.

The dinosaur era of oligarchic rule had reached an end. The few rulers who didn’t have the sense to abdicate were forcibly evicted, or worse.

Via a rapid series of teep referendums, nation after nation adopted new constitutions. No more Presidents, no more Senates, no more Parliaments. From now on, countries would rule themselves via realtime public consensus.

Something subtler than the blunt instrument of majority rule came into sway. Laws became dynamically tuned compromises, continually adapting to social change. The post-digital body politic was as homeostatic and self-healing as the body of a living animal. It was odd to think that for so many millennia, people had lived in societies that were like crude, awkward machines.

On a totally different theme, let me mention that my pal Paul DiFilippo has published a short novel, Cosmocopia , illustrated by a jigsaw puzzle created by comix god Jim Woodring! Here’s purchase info, and a video of Paul reading from the work at Fantagraphics Bookstore in Seattle last week:

Write on…