Thursday, February 15, 2007

Review of Poems For Dave Tronzo by Lo Galluccio

By Lo Galluccio

Lo Galluccio’s “Poems For Dave Tronzo” is a small, self-published chapbook containing nine poems. (There is no price listed on the book.) The no-frills design, the typeface and its spatial relation to the page give the poems a sense of intimacy and immediacy even before reading. The line lengths vary in the poems, some lines ranging five to seven beats, some four or less. Galluccio lets the content give form to the poems, which adds visual as well as poetic spice to the book.
It would be helpful to the general reader if there were a title page with some mention of who Dave Tronzo is (an acclaimed New York-based guitarist known especially for his slide work, hence the cover photo) and perhaps why the book was “for” him. Beyond this minor quibble, this reviewer found the poems bursting with arresting imagery. From “The Color of January” we find:

Sometimes you say I’m a hot hot star in your bed. “What color would
you like me to be?” you ask. I say, “Blue.”

Galluccio’s images and language suggest a vision of poetry that is Rimbaudian and Orphic. She pushes her language. The language takes risky leaps, pushing off like a ballerina performing a tours en l’air and landing like a kung-fu fighter inches from your face.
Here are the first three stanzas of “Itinerary”:

Past castles in Brabant. Thirsty I drink a sweet dream of union.
My horse, a thief

In Gent. Pale fish serve as my communion. As symbols
go in eyes streaming where they went.

A hell topless and civilized extremely like Paris,
a cabdriver screws off his head.

Like I said, Rimbaudian; the imagery is surreal, dreamlike and haunting, as in “A Terror In Spring”:

I believed in silence but you
Kept opening up my mouth.
When your tongue finished foraging,
Words fell out like old shoes.
These words put tracks on your

The poem ends with these tasty lines:

Levitation is not the same as resurrection.

It takes faith.

I’m nobody,
and I use a pen.

This reviewer particular enjoyed “Your Amsterdam”, a poem more compact but no less charged by elevated language. Here it is in full:

I think I thought
I lived there
In a courtyard with pink
Flush egg lights
Where birds
Erupt at looping

Barbed wire

And finding you
at a table—
alabaster face
risen over a grey bowl

My penitent kiss
to your forehead

gets pierced.

“Poems For Dave Tronzo” is a chapbook to savor. To cop a line from the speaker of “Three Dollar Poem,” you will come back and say yes, baby, yes.

--Richard Wilhelm
Ibbetson Update

Wednesday, February 14, 2007

Donald Lev on Enid Dame

An Essay by Donald Lev about his late wife the poet Enid Dame

(Enid Dame)

This essay is by Donald Lev who is the publisher of the New York-based independent literary review: "The Home Planet News." Donald Lev was born in New York City in 1936. He attended Hunter College, worked in the wire rooms of the Daily News and The New York Times and drove a cab for twenty years. He also ran messages for and contributed poetry to The Village Voice. Donald also operated the Home Planet Bookshop on the lower east side, and, in 1969, reached the pinnacle of his underground film career with his portrayal of "the poet" in Robert Downey Sr.'s classic, "Putney Swope." Currently, Donald lives with his reclusive cat, Kit Smart, in High Falls New York, continuing to publish and edit the literary tabloid Home Planet News, which he and his late wife, Enid Dame, founded in 1979

by Donald Lev

I first met Enid (who was my companion, wife, and colleague for 25 years) through some poems she sent to the New York Poets' Cooperative--it could have been as early as 1975, but more likely 1976 (my sense of chronology is as weak as my sense of direction). The Co-op started in ’69 as an organization that promoted readings—at that period you couldn’t get more than five minutes anywhere in NYC to present your work orally unless you kissed ass at one of two holy edifices—St. Marks in the Bouwerie or the Ninetysecond Street Y. I thought, what is this? Who is this? Does she really spell her last name with an m not an n? Does she either not know what she’s doing or does the sober but funny magic of those unusual poems come from a genuine ability and authority. I guessed the latter and voted with the majority (I believe it was unanimous) to welcome her into membership. One of the poems, “Before,” which subsequently appeared in her first Downtown Poets chapbook Between Revolutions began:

The catshit reproaches me in the bathroom.
The icebox has regressed:
incontinent, it leaks
and puddles on the floor.
The drain’s in pain again.
It vomits when I do the dishes.
The dishes crack.

We’re all of us
a bit unwell.

I finally got to meet Enid Dame at a meeting of the New York Poets’ Cooperative. And I came to appreciate her cool literary and political intelligence as well as her inner warmth, honesty, and humor. We soon became friends and allies in some of the controversies rife in the organization (of which I recall nothing now—which fact at least reveals how petty they must have been). When,.in 1978, Mike Devlin and I were beginning to produce issues of Poets Monthly out of Mike’s strategic office in Union Square, I suggested to Mike that we needed a good, organized, literary-minded person to center the enterprise. He agreed. So I got Enid, who at that time was looking for an excuse to lay off her doctoral dissertation for a while (she eventually finished it and became a fully exploitable member of Academia) to take on the task with the title of “associate editor.” But before that time Enid and I met in connection with two other interesting New York City literary institutions of the time: The Print Center and the Downtown Poets Cooperative.
The Print Center, in Brooklyn, was where all the small press publishers went in the ‘70s and ‘80s to put their chapbooks and other publications together. Any work you could do yourself, say saddle stitching, trimming, or even typesetting on one of their fine IBM Composers, you did yourself, without any cost to you. And anything the Print Center did for you—which was printing for the most part—was done at very reasonable rates—thanks to NYSCA and NEA funding. The operation was run by poets. When I first dealt with the Print Center—I notice my third book of poems, copyright 1973 was done there—it was located in a little storefront on State Street. The manager was a pleasant chap named George Faust. All the work was done by the long-suffering Larry Zirlin. By 1975 the Print Center was occupying the first of two similar spaces—large commercial lofts in downtown Brooklyn, near the BQE and the waterfront. In these new locations the manager became Robert Hershon (of Hanging Loose fame); and of course the long-suffering Larry Zirlin was on hand to do all the work. At some point the long-suffering Larry Zirlin was replaced by the uncomplaining Frank Murphy, who also printed the New York Poetry Calendar, which I came to distribute for about fifteen years. (Hershon currently runs something called the Print Center out of offices in Manhattan, which is a much different animal from its predecessor). Among the many many small presses (those were the days when we were a truly powerful movement) that enjoyed the benefits of the Print Center was the Downtown Poets’ Coop. headed by David and Phillis Gershator, two excellent writers and poets themselves, who managed on grants, which were much more plentiful those days, to publish several books and chapbooks. The Downtown authors whose names are most recognizable today were Ivan Arguelles, Irving Stettner, and Enid Dame.
Enid’s two Downtown Poets chapbooks, Between Revolutions (named “one of the half dozen best of the year” 1977 by Bill Katz of the Library Journal) and Interesting Times (1978), both well printed and illustrated with interesting collages and photographs by her husband of the time, Robin Dame (who, changed in name and gender, is still a good friend and important member of the Home Planet News editorial staff), consists of poems reflecting a period of Enid’s life when she was coming off a long hiatus during which poetry had been replaced by politics (she was a member of that section of SDS which did not use drugs or play with bombs, but also did not get to write the histories of the movement). Now, having left the party which denounced her as a “Bourgeoise Individualist” and moved with husband and cats to Brooklyn, she began writing the funny, sad, nostalgic poems that appear in these books—all soaked in a marinade of place, politics, and Jewish ethnicity.

four days a week
I manage
the streets, the terrible subways
the human explosions
skirting disasters
between revolutions

food cats poetry
sex keep me sane

the recent past
almost sustains me:
Browning and Ruskin
Victorian novels

hoarded and measured
an inch at a time

my friends
know the score:
are meaningless,
the past a bad joke…”

history rumbles
under the surface
the sea
caught in a conch shell
(Between Revolutions)

Brooklyn looks like Russia
In the snow.
The subway stop:
snow on its roof
snow down the tracks
like a railroad station
after a revolution.
People stand muffled:
boots woolen mittens furs
and shopping bags. A woman
reads a Yiddish paper.
A man reads The Daily World.

We huddle
like survivors…
(“Waiting” in Interesting Times)

Enid’s next book, also from Downtown Poets, was a full collection called On the Road to Damascus, Maryland (1980), which included two types of poems not to be found in the chapbooks: family poems (of which the only example in this particular volume is the title poem), and what Enid was later to call “midrashic poetry”—poems concerned with biblical characters and stories with a view to fill in the blank spaces and answer questions raised in the scriptural narratives. This latter category fills most of the second half of the book in a section called “Traveling Companions.” Here is the first appearance in print of Enid Dame’s signature poem, “Lilith”:

Kicked myself out of paradise
left a hole in the morning
no note no goodbye

the man I lived with
was patient and hairy

he cared for the animals
worked late at night
planting vegetables
under the moon…

Taking hints from a 1972 article by Lilly Rivlin in Ms and Susan Sherman’s poem “Lilith of the Wildwood, of the Fair Places,” which was first printed in 1971 (both pieces are reprinted in Which Lilith? Feminist Writers Re-Create the World’s First Woman (Jason Aronson. 1998), an anthology edited by Enid Dame, Lilly Rivlin, and Henny Wenkart), Enid converted Lilith from the Judaeo-Christian Demon to a perennial hip Jewish feminist with some sisterly connections to Mae West and Sadie Thompson.

the middle ages
were sort of fun
they called me a witch
I kept dropping
in and out
of people’s sexual fantasies

One transitional poem did appear in Enid’s chapbook, Interesting Times. This is “Vildeh Chaya” which she pointed out in her article “Art as Midrash” (published posthumously in Home Planet News #53) was “(a) pivotal poem for me…(n)ot exactly a midrash since there is no such character as Vildeh Chaya in Jewish text. I invented her—a wild Jewish woman—because of a misunderstanding on the part of my mother (who) thought this Yiddish expression actually referred to an archetypal shtetl character—wild Chaya.”

Vildeh Chaya
in the woods on the edge
of the shtetl she hides
mud-splattered dress torn
barefoot she won’t
peel potatoes get married
cut her hair off have children
keep the milk dishes
from the meat dishes

instead, she
climbs trees talks to animals
naked sings half-crazy
songs to the moon. …
(Interesting Times p.26)

Midrashic poetry is featured also in all of Enid Dame’s subsequent books. Her chapbook Lilith & Her Demons (Cross-Cultural Communications, 1986) and her last book, Stone Shekhina (Three Mile Harbor, 2002) were wholly midrashic in content. In Confessions, an earlier chapbook (1982) from Cross-Cultural Communications, she joins the midrashic “Lot’s Daughter” with two other dramatic monologues (almost all of her midrashic poems were dramatic monologues) featuring Martha Scott, a victim of the Salem witch trials, and Adah Isaacs Mencken, a mid-nineteenth-century American (probably Jewish) poet, actress and femme fatale. Her 1992 collection, Anything You Don’t See (West End Press) is the most comprehensive to date (I have been putting together two posthumous collections, one of which should be out soon from Three Mile Harbor) in that it gives the reader a fine sampling of Enid’s entire oevre. including midrashic and family poems, poems of place, and poems of politics; and contains good examples of the sestina and the dramatic monologue, forms of poetry in which she particularly excelled.
Poems in Anything You Don’t See catalogue Enid’s family history from her birth in Beaver Falls, a small mill town in western Pennsylvania

The walls shook, and I broke into the world,
skidded into a bedrail and found my voice
in the summer hospital room, in the quiet milltown.
Mother shuddered, “I think it’s already happened.”
“Impossible!” Father insisted. “It’s still too early.”
The doctor, meanwhile, was out fishing. …

to politically progressive parents who met at a labor rally in Washington, D.C. when they were young government workers during the New Deal ‘thirties who suddenly removed to Pennsylvania where her father (originally from The Bronx) became a furniture salesman (introduced into that calling by his father-in-law); to the city of Pittsburgh, where Enid spent her early teens, and her Indiana-born mother—who suffered from depression, and, later, from multiple sclerosis—painted.

In Mother’s city, there are no doorknobs.
Someone has pulled up the trees.
In this Pittsburgh, the sky is yellow,
oilspilled, streaky. The color of despair.
Telephone poles throw up hands,
gawky crosses, then fall over backward.
No wires. No birds. Here,
everything is inside.
(”Mother’s City”)

In Pittsburgh Enid started high school—which had a writer’s club. Then the family (which by now also included her younger brother Phil Jacobs—currently editor of the Baltimore Jewish Times) moved to Baltimore where there was no writer’s club. So Enid joined the gun club. Thence to Towson State Teacher’s College (now University) where she published poems in the Talisman (Towson’s literary magazine), got involved with the science fiction “fanzine” movement, where she met her first husband, married, got involved with the Baltimore peace movement, graduated, taught high school; then dumped it all, “caught the red-eye to New York/ reading “America” in the City Lights Edition,/ ecstatic on no sleep and bursts of fantasy…” (“The Seders”, published in the Woodstock Journal).
The city Enid loved so passionately is celebrated even more strongly than in the previous volumes in Anything You Don’t See. Consider such classics as “Brighton Beach” (“…a place of immigrants, radicals, exiles,/ serious eaters and various gifts…”) and “Riding the D-Train”:

Notice the rooftops,
the wormeaten Brooklyn buildings.
Houses crawl by,
each with its private legend.
In one, a mother
is punishing her child
slowly, with great enjoyment.
In one, a daughter
is writing a novel
she can’t show to anyone. …

In this volume also, her powerful sestinas begin to appear: “My Father and the Brooklyn Bridge,” “Sestina for Michael,” and “Ethel Rosenberg: A Sestina”:

I picture you in your three-room apartment, a woman
singing snatches of arias to yourself as you set the table,
loving and hating the house. I know the type.
Scraping and rearranging, refusing to take things easy,
Foreboding washes over you, an extra sense.

Dramatic monologues are here in abundance. Besides the midrashic Lot and Eve, we are addressed in the voices of Cinderella, Persephone, and citizens of Brighton Beach like the persona of “Closing Down: Old Woman on Boardwalk”:

Still holding on in this body,
an old house;
One by one they’re sealing its rooms off.
Heat’s disappearing
like ghosts through the cracks.

In the last section of the book, Enid celebrates her parents’ lives and deaths in several haunting poems.

Now hold your mother
lingeringly on your tongue.
Her fruit is still alive.
It tastes as it always did:
heavy resonant edgy.
It makes you think of old coats
fur collared camphor-scented
worn in another country.
(“Fruit Cellar”}

Inside my father’s blood
a battle is raging,
directed by doctors and chemical companies.
He’s been invaded twice.
Like any other war,
this one is heavy with talk
of blasting, destruction, intrigues,
and, naturally, false reports.
(“What We’re Here For”)

In the elegant “God’s Lioness,” also in Anything You Don’t See, Enid Dame addresses one of her great models, Sylvia Plath:

Art can do just so much—
it can’t save you.

These lines move me to reflect on Enid Dame’s late poems, haunted by cancer, 9/11, and impending war. This from an unpublished poem, “Bulbs”:

You gave me six daffodil bulbs
to plant in my upstate front yard,
letting each one stand for an unrescued name
entombed in the Tower wreckage.

I carried the box to my mountain,
set to work with a shovel.
It proved slow going,
that ungiving October day.

One of the bulbs had split:
two bodies joined at the stem.
I thought of those mythic co-workers
who held hands before they jumped.

I thought: I’m burying six people
I probably never knew,
their bodies unfound their names amputated.
All we’ll have is six flowers

if they actually bloom next spring,
if we’re here to see, to remember.

Those daffodils have been blooming ever since, more profusely each spring. The theme of remembering became important in these last (perhaps Anthroposophy-influenced) poems. In “Catskill Mountain Book Fair: May 2003” (published in Heliotrope) she begins:

Remember it all.
It won’t be here next year.

Woman poet in red velvet blouse on stage.
Grand piano (covered like a toaster) behind her.
Pieces of quilt on the walls.
Publishers listening at their booths.
Backdrop: a road climbing a mountain,
trees slowly finding their green,
an apple tree in frail flower.

One poem lays cold fingers
on your shoulders.
You shudder in ecstasy.
The next poet reads too much.
Everyone here is good-humored.
Remember them all.

You reach for a hand.
It is here this year.
It feels warm and comfortable. You handle it
while the poems’ rhythms gently rock the room.
This is a pleasure. You will need
to remember it later. …

In emulation of another great role model, especially during the last year of her life, the Mexican painter and political activist Frieda Kahlo, Enid participated in peace demonstrations and recorded what it felt like to be in those moments in poems like her villanelle, “The War Moves Closer,” printed posthumously in both Home Planet News and the “Beat Bush” issue of Long Shot:

The war moves closer and we can’t stop it.
Four million marched in Rome and London.
We read our poems on a Woodstock stage.
Winter goes on forever.

Four million marched in Rome and London.
A few lay down in the snow in Antarctica.
Winter goes on forever. …

and the monumental “This One,” also published posthumously, in Tikkun:

The first one wasn’t real.
But I opposed it.
I opposed it in a workshirt.
I opposed it in a mini-skirt.
I opposed it on my way to buy birth-control pills.
I oppposed it ecstatically.
I opposed it in my kitchen bathtub
on the Lower East Side.
I opposed it on the streets with my friends
who were scruffy and raucous and funny,
who opposed it with their youth and great bodies.

This one is different.
We’ve lost so much already:
a city
a democracy
a way to be together
a fantasy of hope
(which glimmered like a silver-misted island
at the edge of possibility).

Now it’s hard to see that island
through the thickening smoke.

An awful force is gathering.
It’s real. It’s getting stronger.
It doesn’t mean us well.

But I’ll oppose it
With my smoke-clogged brain.
I’ll oppose it with a stone in my breast…

On December 3, 2003, during a bitter, unseasonable, cold spell, Enid flew out to Ann Arbor, Michigan, to read at a fundraiser for the Jewish feminist journal Bridges, of which she had been a poetry editor. She died of pneumonia and complications from breast cancer three weeks later, on Christmas day.
I’m going to conclude here. Not that there isn’t more to say. This has been little more than a brisk survey covering the small part of Enid Dame’s work included in the seven books and chapbooks published during her lifetime. I have said nothing of her fiction, which included one completed unpublished novel, and many short stories, including parts of the novel, which appeared in small press periodicals and anthologies over many years. I have said little of her editorial work on three periodicals and an important anthology; the readings column, for instance, which she developed in Poets and Home Planet News; nor have I spoken much of her scholarship, which included writings on Victorian literature, Jewish-American fiction, and of course midrashic poetry and Jewish feminism. Besides her work on Which Lilith? noted above, she wrote papers, gave lectures and presentations of her own and other women’s work, and at the time of her death was working on a second anthology, this one of writings on the Prophetess Miriam. This project will reach some fruition in a forthcoming issue of Bridges.
Hundreds of notebooks attest to Enid’s serious life-long reflections on, and struggles with, poetry, teaching (which she took very seriously), politics, history, Jewish-American literature and religion, and, finally, cancer, and the meaning of life. This little essay is meant to break some ice over deep, deep water.

Monday, February 12, 2007

More of Me Disappears by John Amen

More of Me Disappears. John Amen. (Cross- Cultural Communications. Merrick, NY 2005) $12

John Amen the founder of the award-winning literary bimonthly “The Pedestal,” sent me a collection of his poetry “More of Me Disappears.” This is original work; sometimes narrative, other times abstract flashes, peppered with striking lines that blink like neon, and then disappear into the ether. “Angelica Tells Her Story” reminds me of Tennessee Williams’ mad sister that Williams was haunted by his whole life. Here Amen mourns for a sister, a family, and recites a litany of sorrows:

“Oh Marta, I suffered until laughter crawled/ up the birth canal of my heart and cried its lungs awake. / I grieve for my sister chained to the storm in her gray pulp; / my mother who died looking out a window,”

In “New York Memory $14” the poet looks back and sees a sad/sweet November in a long-ago New York – a sort of womb-like respite far from the maddening crowd:

“I walked down court street in the evenings, sat on/ the Promenade sometimes./ My father was dead,/ we were first married, and I wasn’t happy, but/ maybe things seemed all right…/ In a department/ store near St. Mark’s, we decided to have a baby./ Nothing was ever enough./ But I don’t recall it/ as a bad time, that November, that sad month,/ kind of like each day was a bizarre vacation,/ a slow parade of hours leading us toward/ the hysteria of a work day, our usual lives.”

Recommended. Amen.

Doug Holder/ Ibbetson Update

Sunday, February 11, 2007

Manisha Roy: A Jungian Psychotherapist With A Conscious Desire To Write

Manisha Roy: A Jungian Therapist with a Conscious Desire to Write.

By Doug Holder

Manisha Roy is a Bengali who was born in Northeast Assam, India, and educated in Calcutta, as well as at the University of Chicago, and the University of California. Once an anthropologist, she is now a lecturer and writer in Jungian psychotherapy. She has been a practicing psychotherapist since 1985 in Boston. She is the author of “Bengali Women,” “Cast the First Stone: Ethics in Analytic Practice,” and other works. I talked with her on my Somerville Community Access TV show “Poet to Poet: Writer to Writer.”

Doug Holder: How does Jungian psychotherapy differ from Freudian or Cognitive?

Manisha Roy: I will see if I can simplify it. Jung was a student of Freud and they were very close initially. At some point they separated from each other over theory, or an issue. Jung noticed in working with psychotics that they had a fantasy world they went into that had symbols and contents that sometimes are identical with certain cultural histories, legends and stories of far away cultures. This made him wonder if old humanity and young humanity had some sort of connection in the deeper level of the unconscious. So he came up with the term “collective unconscious” and he talked to Freud about it when they both traveled to this country in the early 1900’s. (Notably to Clark University in Worcester, Mass.) Freud could not agree with his theory.

Jung was like a son to him. He was looking to pass on his legacy to Jung. But Jung could not deal with it; he had to be on his own. All sons have to separate from their fathers. He broke away.

A Jungian psychotherapist pays attention to the deeper unconscious symbolism through dreams, fantasies, and neurosis. Freudians look at symbolism more or less in a standard way. Jung’s approach to the unconscious was more refreshing, healing and positive. It was not like Freudian theory that stipulated that the ego had to be constantly on guard against a cauldron of unconscious material; that could be destructive. There is a big difference philosophically between the two.

Doug Holder: How is Jungian psychotherapy received in more traditional settings like, say McLean Hospital?

Manisha Roy: Twenty years ago it was not very popular. Mclean has been welcoming to my students now for practical training.

Jung predicted as the crisis of life increases in a technological society; Jungian therapy would be more in demand---and now it is happening.

Doug Holder: You have written in “Reckoning Heart: An Anthropologist Looks at Her Worlds.” that culture can offer security, but also can be so confining that we must protest or rebel to survive. Is mental illness a form of this rebellion?

Manish Roy: It is like the case with children. There is a need to rebel unless there is a big restriction. Ideally culture takes care of people. Culture is supposed to take care of people’s spirituality as well as there security. When individuals find there is a clash between their individual
values and their culture then culture becomes traditional. Individuals break away from it, create something new, and then there are new cultural leaders. Then others follow. This is how culture moves. Freud said this was “discontent” I think it is the natural way of things. When we clash against what we are “supposed” to be doing it can form a neurotic reaction. Jung said every time we have neurotic suffering we also have an opportunity to grow.

Doug Holder: In the “Reckoning…” you write about an experience living with an unhappily married woman and her rather promiscuous lifestyle. You remain non-judgmental and objective. Explain.

Manisha Roy: This was an anthropological book of course. I was an anthropologist before I was Jungian. It is a good foundation to have. Because when you work with individuals; knowing their background, knowing their cultural conditioning, helps in individual therapy. Our job is not to judge, but to help people in emotional pain. By knowing their cultural background helps. People don’t realize how conditioned we are by culture.

Doug Holder: Can you tell me a bit about the Bengali writer’s group you are part of.

Manisha Roy: The name of the group is “Lekhoni,” which literally means the pen, and it also means someone who writes. Some writers, about 8 to 10 of us meet regularly. It’s been meeting for three years now. We try to meet once-a-month. Some people in the group are grateful because they always wanted to write but never did before joining this group.

Doug Holder: Is it a big stretch going from clinical writing to creative writing?

Manisha Roy: It was not easy. I had to unlearn things. In academic writing you have to argue. You have to convince your readers—either prove or disprove something. In creative writing you can let go of that. You can unlearn. My first love was literature. I work with a lot of creative people. Sometimes therapy improves writing.

Doug Holder: Can you talk about the connection between the high incidence of mental illness among writers and artists in general?

Manisha Roy: There are of course some writers who have killed themselves like Sylvia Plath. To create, as any poet knows, you often have flashes that come from a depth. You don’t think them out. When you put it on paper it is different, but the ideas are from the unconscious.Healing comes from the same area of subconscious, as the problems do. Writers and artists sometimes go too close to this area, and it can be dangerous. They are usually more sensitive than other people—they are closer to that area anyway. At some point they think: “I’d rather be a writer, than be quote”sane.’’ But I know there are many sane writers. (Laughs)

Doug Holder