Today in class professor initiated a juicy discussion into the self. I thought you may enjoy diving into our conversation – and I’m extremely interested in your views of self, and your philosophies on life. I’m a firm believer that language IS arbitrary. But I also agree that our abilities, as storytellers and myth makers, define what it means to be human.

Thinking Philosophically

What Is Your Philosophy of Life?

Everybody has a philosophy of life. Identify some of the foundation beliefs that form your philosophy of life, using these questions as a guide. Express your ideas as completely and clearly as you can. Think deeply and beyond superficialities and refuse to be satisfied with the first idea that you have.

  • What do you most value in life? Why?
  • What moral beliefs influence your choices and your behavior toward others? How do you determine the “right” thing to do?
  • What role do religious beliefs play in your life? Do you believe in “God”? Why or why not? Is there an afterlife? If so, what is the path to it?
  • What gives your life meaning? What is the purpose of your life? What do you hope to achieve in your life?
  • How do we find truth? How do you know when you “know” something is true? What is an example of something you know to be true?
  • Do you believe that your choices are free? Do you hold yourself responsible for your choices?
  • What do you consider to be “beautiful”? Why? What is the function of art? Should “extreme” forms of artistic expression be censored? Why or why not?
  • Are all people entitled to basic human rights? Why? What is justice?
  • What are other important beliefs in your life?
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As our world grows increasingly smaller it’s easier than ever to seek refuge in the comfort of familiar places. Yet, we live in a time when thoughts and ideas manifest in flashes of delight, th blink of an eye and round-the-world travel is at the fingertips of risk takers and adventurers alike. I see Marco Polo and Gertrude Bell in the men and women I met abroad. Sharing the road, sharing tales of individual split-second experiences worth more than time itself.

I started blogging back in 2012, shortly after moving to Jordan — not only to share my story and to learn from others, but to inspire, to instill the momentum it takes to lace up ones boots and hit the road. It wasn’t until I found myself alone in a most foreign country that I felt the hot passion of life. Where my native tongue was about as useful as the moo! of a cow and most the time, I had no idea what the hell I was putting in my mouth… but it tasted good and I wanted more! And that is why you must hit the road.

Don’t be victimized by the culture of fear. Our planet is waiting to be explored, to reveal it’s secrets to you, to me, to any who dare ask, it will expose you to the raw truths of life. To the quarks of distant cultures and alien tongues. To disgusting foods and delicious cuisines, to dangerous and countless blessings.

Let’s take control of 2015. Don’t be afraid to leap without looking. I encourage you to take off the training wheels and take the road less traveled.

-Yallah!

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“People rarely succeed unless they have fun in what they are doing.” —Dale Carnegie

The idea of living a simplified, uncluttered life with less stuffsounds attractive to many. They have considered the benefits of owning fewer possessions: less to clean, less debt, less to organize, less stress, more money and energy for their greatest passions. They are ready to declutter but some get quickly tripped up by the very next question… where in the world do I begin?

Many begin to feel overwhelmed, anxious, and defeated around the idea of decluttering their homes. That’s too bad. The decluttering journey doesn’t need to be as painful as some make it out to be. In fact, there are a variety of people who have come up with some pretty fun, creative ways to get started.

Consider this list of 10 creative ways to declutter your home:

1. Give yourself 5 solid minutes. Leo Babauta at Zen Habits recommends 18 different 5-minute decluttering tips. Pick one today that sounds appealing. Or better yet, pick a random number 1-18, read the specific tip, and commit 5 minutes to completing it.

2. Give away one item each day. Colleen Madsen at 365 Less Things gives away one item each day. Over the past several years, she has experienced quite a transformation simply reducing her stuff one day at a time.

3. Fill one trash bag. Early in our journey towards simplicity, one of my favorite decluttering techniques was to grab a simple large trash bag and see how quickly I could fill it. While much of what I collected was trash, this could also be used to fill a bag for Goodwill.

4. Try the Oprah Winfrey Closet Hanger Experiment. While this idea didn’t originate with Oprah, she was the one to help give it notoriety. To identify wardrobe pieces to clear out, hang all your clothes with the hangers in the reverse direction. After you wear an item, return it to the closet with the hanger facing the correct direction. After six months, you’ll have a clear picture of which clothes you can easily discard. This experiment could also be applied to a number of clutter areas in your home (cleaners, toys, linens, tools, hobbies and craft items).

5. Make a list. Dana Byersrecommends creating a list of places/areas in your home to declutter beginning with the easiest… which doesn’t sound all that creative until she adds this note, “When you’re done with one area, STOP.” This list could be made as easy or difficult as you desire based upon what areas of your home make up the list (drawers/closets/rooms). And could easily fit into any schedule.

6. Take the 12-12-12 Challenge. A simple task of locating 12 items to throw away, 12 items to donate, and 12 items to be returned to their proper home can be a really fun and exciting way to quickly organize 36 things in your house. On more than one occasion, this challenge actually became a quick competition between my wife and me… and your kids don’t have to be too old to participate as well.

7. Change your perspective. Unclutterer offers a powerful approach to decluttering when they offer a number of strategies to help you change your perspective and begin to notice some clutter you may have missed. Among their ideas: take photos of your house, invite over a toddler, or ask the boss to meet in your office. With all of the examples, the hope is to cause you to see your home in a new light.

8. Experiment with numbers. For example, Courtney Carver invented Project 333 to challenge people to wear only 33 articles of clothing for 3 months. If 33 articles of clothing seems too little, adjust the rules as you need by picking a new number. The important thing is to challenge yourself to live with less and see what you learn from the experiment.

9. Use your imagination. Psychology Today recommends using your imagination to help declutter objects that may seem difficult to remove. Try asking yourself unique questions like, “If I was just buying this now, how much would I pay?” These creative techniques may prove to be very helpful for some with difficulties removing unneeded clutter.

10. The Four-Box Method. As we first set out on our journey to minimalism, this was the technique most often used in our home. As I set out to declutter an area, I brought four boxes: trash, give away, keep, or relocate. Each item in every room was placed into one of the four categories. No item was passed over. Each was considered individually. Some projects took an hour… others took days or weeks. But the technique and principles remained the same.

No matter what you choose to help you get started – whether it be one of these ten or one of countless others – the goal is to take your first step with excitement behind it. There is a beautiful world of freedom and fresh breath hiding behind that clutter. How you remove it is up to you.

On Reading and Translating the World’s Stories: Catching Up with Ann Morgan — Discover

Book blogger Ann Morgan of A Year of Reading the World had a fantastic 2015. We caught up with Ann and chatted about connecting with fellow book lovers, translating more of the world’s stories into English, and her unique journey from blogger to author and speaker.

On Reading and Translating the World’s Stories: Catching Up with Ann Morgan — Discover

Translation, an art growing every more demanding as our world grows increasingly smaller. Cross-cultural connections, empathy, compassion, and the peace process are all contingent upon our understanding of one another. Translations and transference of foreign language works is one of the greatest approaches to recognizing our essential needs and desires.

Success is as dangerous as failure.
Hope is as hollow as fear.

What does it mean that success is a dangerous as failure?
Whether you go up the ladder or down it,
your position is shaky.
When you stand with your two feet on the ground,
you will always keep your balance.

What does it mean that hope is as hollow as fear?
Hope and fear are both phantoms
that arise from thinking of the self.
When we don’t see the self as self,
what do we have to fear?

See the world as your self.
Have faith in the way things are.
Love the world as your self;
then you can care for all things.

Tao Te Ching


“A line will take us hours maybe,
Yet if it does not seem a moment’s thought,
Our stitching and unstitching have been naught.
Better go down upon your marrow bones
And scrub a kitchen pavement, or break stones
Like an old pauper, in all kinds of weather—
For to articulate sweet sounds together
Is to work harder than all these, and yet
Be thought an idler by the noisy set
Of bankers, schoolmasters, and clergymen
The martyrs call the world. “

So there you have it: writing is hard work. Now, the question remains, what will you do with this condemnation? Will you pitter and patter and moan and groan (which is my general state): or, will you buckle up and DO the hard thing, the work?

“So a weird thing about making money writing words and making money doing art and sometimes making money writing code is that people really want to define what it is you do, exactly. This becomes especially important when people are, for example, a publisher who needs to see your book or a radio show that is having you on to talk about your book.

And one of the words those people decide to use is “journalist” and when you hear those words your internal organs start to collapse and maybe you want to have a nervous breakdown. For reasons. And you ask them not to use it and they use it anyway.

That being said: I have had bylines in real publications! Writing things that involve actual facts and not just opines about things in the world (OK sometimes opines too though). I interview people, I transcribe interviews, I file records requests, and I fact-check with sources before going to publish things. That all sounds like journalism, Ingrid. Why can’t you be an artist and journalist?

This isn’t a blog post about my extremely goth tortured relationship to why I can’t ever be a Real Journalist (TLDR: imagine how you’d feel about being adequate enough to be a journalist when your role model for journalism is your dead father who covered Martin Luther King Jr.’s assassination). This is about the blurring of art and journalism as a consequence of late capitalism and the attention economy, and why that’s worrying. I don’t think that it’s bad to do art and do journalism, I just think it’s important to have clear boundaries between art and journalism, and in a moment where basically all forms of self expression (be they art, journalism, or tweets) are boiled down to interchangeable commodities, it’s really easy to ignore those boundaries, and that’s bad for both art and journalism.

ALthough, this is based on a very specific (and, probably, naively antiquated) idea of what constitutes “journalism” and what constitutes “art.” Journalism is a field that, as far as I understand it, is defined really strongly by its mandate to serve a “public interest” (which can mean a lot of things) and by an assumed code of ethics. It’s not really a Hippocratic Oath-type code. Guidelines and codes of ethics for journalism are mostly defined and published by professional associations and can vary from institution to institution.

Here’s one from The Society of Professional Journalists. A quick glimpse through this list is basically a sample of positions that, in contemporary art, would effectively be “conversation topics” or “just your opinion.” For example:

Be vigilant and courageous about holding those with power accountable. (This exhibition brought to you by Credit Suisse…)

Boldly tell the story of the diversity and magnitude of the human experience. Seek sources whose voices we seldom hear. (The art world’s kind of getting better about this, kind of, but I invite you to look at the most recent Whitney Biennial and Joe Scanlan’s both insulting and embarrassing work to consider how that tends to get fraught real fast because institutional legacy.)

Never plagiarize. Always attribute. (so let’s talk about the history of appropriation…)

OK, there’s a whole section called “Minimize Harm” here, I don’t know if I need to belabor my point. This obviously gets way more fraught and weird with art that looks at pointed political issues and especially art that enteres into the weird blurry space of computers and things. People who do ethically questionable things as journalists have historically been excoriated and tend to lose their jobs. People who do ethically questionable things as artists tend to like, keynote fairly high-profile art and technology conferences in mid-sized Midwestern cities (ahem, ahem). So who sits between those worlds and how, exactly, does that work?

The people who I see do it well tend to have clear parameters. Molly Crabapple as painter with exhibitions produces very different work from Molly Crabapple who spends months reporting in conflict zones. And I am not saying that people who work in the ethically ambiguous space of art can’t work in the ethically non-ambiguous space of journalism. What has me kind of anxious are two things I see happening: the in-housing of artists in news environments with vague definitions of roles and expectations, and the classism implicit in labeling an artist who works with certain privileged political topics a “journalist artist”–as opposed to those dilettantish “activist artists” who, say, spend time with grassroots organizations or raise up the work of marginalized communities or address topics that don’t attract white hacker boys. Both of these topics probably merit their own write-ups, so I’m going to focus more on the emerging thread that makes these two things that worry me possible.

Maybe one one reason for the conflating and collapsing of art and journalism into each other is just an aftereffect of the fact that the tools digital artists employ don’t look all that different from the tools employed by digital artists (a D3 visualization on the ProPublica website and a D3 visualization by an artist both…look like they were made by Mike Bostock; videos in the Whitney and videos on the New York Times website could have the same production company working on them). But I also think it has to do with the economic model of journalism increasingly resembling the value metrics applied to art–attention and “engagement” rather than, say, public interest or service. So maybe it’s less that I worry about what it is for artists to do journalism as I worry about how an attention economy rewards the worst and most ethically problematic tendencies in both fields.

I’m thinking about the similarity between an egregious art project and an egregious act by a journalist, both of which happened in the past year: artist Dries Depoorter’s Tinder In, in which he found womens’ LinkedIn and Tinder profile pictures and presented them side-by-side as artworks (without permission, naturally), when Nico Hines outed gay Olympians in Rio for a Daily Beast story, potentially risking the lives of Olympians from countries where homosexuality is essentially a crime. Very different contexts, but similar ethical dilemma–using pseudo-public data from social media and placing that data in some context for public viewership, without the individual’s permission.

Depoorter has since apologized and now shows the work with faces blurred–but he’s obviously very cheeky and aggrieved by the kerfuffle, pointing out that he’s included himself in the series so isn’t he, too, under surveillance? But he’s a white male media artist in Europe. He doesn’t owe anyone decency, and I don’t assume as an artist he’s entering into any “do no harm” contract–that art project isn’t bad because he’s acting like a cretin (although I think he is), it’s a bad art project because it’s an insipid premise (surprise, people present themselves differently on different social media platforms, welcome to 2011, buddy).

But Nico Hines does owe the subjects of his reporting basic decency. While the Daily Beast took the story down and the editors issued an apology, Hines himself has yet to issue any public apology. In fact, his online activity has pretty much stopped since the Olympics. If he was fired from his job, it happened quietly–no epic Stephen Glass-style denouncement (although the distinction between the kind of shaming of a journalist fabricating stories versus the shaming of a journalist potentially harming someone’s life with their reporting is itself a pretty interesting thing). In all likelihood, Hines will land on his feet.

In the case of both Hines and Depoorter, both ultimately got a fuck ton of attention for doing ethically questionable things and neither, apparently, faced particularly heavy professional consequences for it. And frankly, in the case of the *Beast it was professional damaging, but ultimately also probably got them a lot of traffic. Those pageviews of the now taken-down story might cover the cost of Hines’ severance package.

(Reminder: this is a blog post where I am speculating about things, please don’t sue me Daily Beast you of all people who know the bloggers vs journalisms dichotomy too well.)

Anyway this was supposed to be a blog post and now it’s a few thousand words, and maybe it’s not clear what my point was. As my very goth backstory suggests, I have a really, really high, arguably romanticized opinion of journalism as a field. I believe that the denigration of journalism is one of the biggest contributing factors to the fucked-up discourse of the present moment–and I consider the denigration of journalism into vacuous attention-economy commodity by people like Jonah Peretti as bad for the field as its denigration into blunt ideological tool by Roger Ailes. Artists who choose to enter into journalistic spaces or take on the badge of journalist have to do so with the understanding that journalism is not in the eye of the beholder or something done merely to provoke. The political choices of journalists need to be held to a higher standard than the political choices of artists, because if the politics of both are merely contingent conversation pieces with no real cost, the work of both (and the human beings and ethical harms potentially implicated in both) become mere fodder for capitalist churn.”

See also: notes

“With only enough time to unpack from our trip to Portland Jaclyn suggests we rent a jalopy and drive our tired souls to North Carolina for the High Point Furniture Market.”

The HP Furniture Market is a Mecca for designers and business owners to network, in-person with manufacturers and gets you in on the know-know. Jaclyn runs a furniture boutique here in Kansas City (the Coveted Home) and making it to events like this can be essential for success. It’s far more than furniture though. Hoards of vendors bring in antiquities and handcrafted goods from around the globe; Southeast Asian, African, you name it. All the while parties are raging. Good drinks and vibes to go around tenfold. Who could pass this up?

Her suggestion ignited an even greater plan; raid this designers “treasure trove” and hit the Smoky Mountains. Taking with us our camping gear, we would mosey along, sampling from local cuisine and the Appalachian Trail.

A week later we were renting that van and on the road with our dog and a cooler stocked with cheese…

Step 1- Kansas City, MO to Franklin, NC

(822 Miles/12 hours and 32 minutes)

Saint Louis, Missouri

Our first sight is the iconic Gateway Arch of St. Louis, MO.  This 630-ft arch is the tallest manmade monument in the states and I must admit, this photo, given the weather, does little justice for the true beauty of this beast.

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We reserve our energy by sleeping through the route between St. Louis and Franklin. Driving and snoozing, equal shifts between Jaclyn, myself, and Simone…

The following morning we’re witness to the beginnings of the Appalachians splendor as we enter North Carolina.

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Early morning sun, burning the Smoky Mountain haze.

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As the sun begins to peak, so does Simone, leaf peeping.

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Fall foliage begins to reveal its orchestrated plumes and hues of autumns tune.

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Taking in a dose of Americana; Avett Brothers blaring, banjo picking, snare drum kicking.

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Franklin, North Carolina

Arriving midday at our first destination we pop our tent and hit the trails

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For those points where it’s hard to distinguish between game trails and the actual hiking trail, cairns are strategically placed along to keep the pious hiker safely on the right route.

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About an hour in, we run into these two who have been out here for days, working their way around the lower AT. They apparently had a run in with a small black bear earlier in the day. Nothing these two champs can’t handle.

With the sun setting, temperature dropping, we spend a few hours fighting the elements to get a fire started, burning through 3/4 of the journal I brought to document this trip… And for a brief moment we actually had a fire raging, cooking our bundles of carrots, potatoes, onions, and turmeric wrapped in foil, roasting with a can of beans and cheese. Enough to heat our food before the moisture snuffed out our flame for good. Eating to the musical backdrop of Appalachia we welcomed the darkness in excitement for the days to come.

The Appalachian Road Trip will return in Franklin to High Point.

Yallah, Bye

The 9-Minute Novelist: How to Write a Novel in Just Minutes a Day
Story 1

Writing a novel is a complicated equation involving a lot of variables and moving parts — not the least of which are the authors themselves. In fact, the process of writing a novel is so arduous and soaked in magical thinking that many writers struggle to explain the process coherently, and about the only thing anyone seems to agree on is that writing a novel requires an author. While artificial intelligence has certainly come a long way, you still need a human being to get a great work of fiction. And if you ask that human being about the most important aspect of their writing process, they’re likely to say “time.”

In fact, “not enough time to write” is probably the number-one complaint of most writers when asked. Between jobs, school, families, chores and everything else that comes along with a busy life, it often takes a superhuman effort to find time to write, much less write a fully fledged 80,000-word book. Much less 80,000 words that make some kind of sense.

Except that’s actually a fallacy. Because all you need to write a novel is nine minutes a day.

FAMOUS FAST NOVELS

It’s common knowledge that every year a bunch of perfectly mad writers challenges themselves to write 50,000 words in one month — and plenty of them succeed. There are also loads of examples of well-regarded published novels that didn’t take long to write:

  • On the Road by Jack Kerouac: Three weeks.
  • The Boy in the Striped Pajamas by John Boyne: Two and a half days [4].
  • The Gambler by Fyodor Dostoyevsky: 26 days.
  • I, the Jury by Mickey Spillane: Nine days.

You get the drift — great novels don’t need thousands of man-hours. Of course, there are caveats. Kerouac spent months on the road making notes and experiencing the things he synthesized into fiction. Dostoyevsky was broke and desperate and agreed to deliver a novel by a specified date or lose the rights to future works, providing inspiration. But the fact remains that if John Boyne can write a novel in less than 72 hours, you can write a novel in short daily segments.

STRIP IT DOWN

None of that means the struggle to find writing time isn’t real. We have only so much mental, emotional and spiritual energy — all three of which are required to write something true and beautiful.

Most often, the real problem isn’t so much time, but how we use it. This is one of those situations in which Perfect is the enemy of Good; we’re often stymied by the desire for a “perfect” writing environment — the right spot, with the right implements, in the right mood, with the right music, sipping the right cup of tea, basically the right everythingincluding the right amount of time.

But very few things in life can be perfect. The first step toward writing a novel in nine minutes a day is to think objectively about where your writing time actually goes. For the majority of us, much of it probably isn’t actually spent writing. We search the internet and do on-the-spot research, we review yesterday’s pages, we procrastinate. Sometimes that’s part of the process, of course — but sometimes it’s just wasting time. Chances are if you strip away all the rituals and the idea that everything has to be optimal before you can concentrate, you’ll find that much of what you think you need isn’t really necessary to the process.

After all, aside from those novels that were written super fast, many great works have been penned under terrible conditions. Jean Genet wrote Our Lady of the Flowers while in prison, mainly so he’d have something to, uh, entertain himself with. Peter Brett drafted his debut epic fantasy, The Warded Man, on the subway commuting to and from work. And William Carlos Williams wrote most of his poems in-between seeing patients while working as a doctor.

Like them (and countless other writers who are typing “The End” on novels every day while working under imperfect conditions), you don’t need a perfect nook or endless free time. You just need those nine minutes.    Read More…

from Quo Vadis Fan Profile: Nicholas

An absolute pleasure to be interviewed by none other than Quo Vadis. I’ve been using their notebooks/journals for years now –*particularly for my literary endeavors.

QV: Please tell us a little bit about yourself.
NA: I’m a multi-genre novelist and explorer. A has-been archaeologist who exchanged trowel for pen. A Texas native, Kansas City transplant with a passion for the Middle East.

You can browse my body of work, read short stories and essays from the road, as well as stay up to date on future novels by subscribing to my website at nicholasandriani.com

You can also follow along on Instagram @nicholasandriani and Twitter @nickandriani

QV: How and when did you first discover Quo Vadis products?
NA: Back in 2012 I moved to the Middle East for work and as a parting gift from a buddy received a pocket Habana, this one became something of a trophy. Actually, this is the very pad that revealed my passion for writing (and painting). I’ve been been devoted to Quo Vadis ever since.

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*READ THE FULL ARTICLE HERE

I’m going to be extremely honest in this one…

It all began in the Spring of 2011 when the East caught fire and revolution spread across North Africa and the Middle East. Something in that moment struck a chord and I before I knew it, I was on a one-way flight to Morocco.

There I nurtured a desire to understand our world and a burning passion, not only to see and share in the rich complexities of life but to explore our past in hopes of answering such questions as, How did we get here? and, Where are we headed?

 

Since then I’ve traveled across the regions of Arabia, Europe, and the United States working as an archaeologist, journalist, ditch digger, butcher, cheesemonger, and a variety of odd jobs.

Now returned I’m seeking a formal education at the local community college in hopes of having a greater impact on our world.

I currently work 60+ hrs/wk and, after the subtraction of rent and investments in start-ups, I’m struggling to achieve the funds needed to return to school and complete my degree.

My wishes are simple: to complete my education so that I may pursue a career in Elementary Education and Comparative Literature

I feel nothing but excitement for the future of humanity, of this extraordinary planet, and it would be an immense honor to have your support along the way.

Thank you for your time and please feel free to reach out at any moment should you have any questions or like to discuss my intentions.

–Nicholas Andriani

Student Grant

$5.00

P.S. This in no way will prevent the progress of my novel work! Which is going along quite well and I thank you for the continued readership and support as I work towards publishing

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“So from populist demagogues, we will learn the indispensability of democracy. And from isolationists, we will learn the need for global solidarity. And from tribalists, we will learn the beauty of cosmopolitanism and the beauty of diversity.”

Author Elif Shafak presents a stimulating call to action, urging PEOPLE, all people, we the people, the collective, the hive mind, who actually have control and authority than we realize, to stand outside our comfort zone. To defend the weak. To life untethered by tribe, whether its “American” or “Arab: “Black” or “White:” “Muslim” or “Buddhist:” “Young” or “Old.”

More than ever we must resist the temptation to follow leaders who are unwilling to acknowledge these very truths.

I hope you find her lecture as moving as I do and please share your thoughts. Would you agree with Elif?

الْأُرْدُنّAl-‘Urdunn, Aqabah

Sun Blazing, the Red Sea, still, cool with Spring. I sit over Cafe Salaam, coffee, freshly roasted with cardamom and a handful of roasted nuts, wedged between an abundance of potted sage and a crumbling banister.

Open my sketchbook and look into the valley…

…Al-Sharif Al Hussein Bin Ali Mosque — open air markets winding and knotted, where camel heads swing from butcheries and parrots are sold hand over fist — all common fare. Beyond the mosque, the water opens in an uninterrupted display of coral and sunset pink, shipwrecks spot the depths like freckles between Egypt and Jordan.

al-Aqaba sketch

Could there be a better rooftop for writers and their manuscripts on a romantic getaway?

NAH!

Let’s hear it, tell me about your favorite rooftop experience. Where? Why?

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It was during my long and dusty sojourn in the Middle East when I first saw them. Buried deep in this old collapsed village, on the far end of town where the market spills into a sea of sand and slate. My boots had worn thin, literally, threadbare the cheap rubber soles were no thicker than a sheet of paper and I was due to return to the excavation any minute. Pressed for time I went to the tattered edge of an old cobblers shop and there they were, hanging in pairs of two, from the vaulted ceiling down to the cobbles like lattice.

The Turkish Yemeni

Now, i’m not the most fashion-driven or even fashionable guy, but the effortless, dare I say, timeless cool of these utilitarian shoes embedded deep within my heart. So much so that I refused to wear anything else –weather climbing, hiking, excavating or swimming the coral banks of the Red Sea (true!).

But it wasn’t until I returned to America that their spell had fully settled in. When I was heartbroken to find my home country a desert for yemenis…

Then in 2012 I met the Sabah Dealer.

(more…)

Rhythmic swells reverberate trough my lungs. The back streets of Valencia.

Back street Europe.

Romani enclaves and gypsy parts of town.

We’ll sit here in the Plaça de la Virgen with our stiff sangria, smartly bashful in red-faced delerium.

For it is Spring and the blossoms have begun to sing.

A nod to blanco nerium.

The Bosphorus splits Istanbul in two parts. A rift in the madness of Europe and Asia, drifting between bodies of fresh and salt water cooling the heated passion of a most ancient urban jungle.

The hot, hot, heat of human movement generates organized chaos as this great strait, this rift, cushions the blow, keeping this romantic city on its axis.

Gulls parade our smooth cruise to the Black Sea as Istanbul, in all its glory, surrounds us reaching out with minarets and the omnipresent aromas of a heavily spiced city.

It’s here, in the interstitial space between East and West, that time stands still…

photo


Will Write for Food. Or Coffee!

Being an artist, whether poet or ventriloquist, violinist or Beck, it's a taxing gig. Low pay, long hours. Sleepless nights,spotty work. If you find that my writing provides any pleasure, any sense of joy at all, I hope you will consider throwing me a bone, or an espresso.

$5.00