Beavis and Butt-Head See J Mascis Smash His Guitar

Hello everyone. I hope you are all having a great start to Fall. 

I’ve taken a little break from publishing on the Kibitzer for various reasons nobody needs to know. Ha ha ha.

Today I’m happy to release a new piece called “Beavis and Butt-Head See J Mascis Smash His Guitar.”

This is my second installment in my ongoing Beavis and Butt-Head series. You can read the first one here Beavis and Butt-Head, Play Two.

I was 19 when Beavis and Butt-Head premiered on MTV in 1993. I wasn’t the biggest fan at the time, but I always appreciated their humor and thought they were hilarious. Which is an understatement.

Today, I still enjoy the Beavis and Butt-Head universe, so I thought I’d take a turn at writing a few episodes of my own. Writing Beavis and Butt-Head episodes is a lot of fun, however it’s also a little challenging in that you want to be a bit careful not to overdo the boys’ catchphrases.

“Shut the fuck up, Butt-Head.”

“Shut the fuck up, Beavis.”

“No, you shut the fuck up, Butt-Head. You’re a dumbass.”

“No, you’re the dumbass. And you’re a moron.”

“Oh, yeah I am a dumbass. I forgot.”

Well, something like that.

These redolent phrases are a big part of what makes Beavis and Butt-Head who they are. However, as someone relatively new to the Beavis and Butt-Head game, I have a tendency to overdo them. I’m trying to keep this tendency in check, while still giving the boys enough room to be the boys.

If you’ve read any of these episodes, please drop a note in the comments and let me know what you think. Am I getting the balance right, or am I leaning too heavily on the familiar catchphrases?

I hope you enjoy this one, and thank you as always for reading.

===== =====

One fine September evening, Beavis and Butt-Head went to Santa Cruz to see a J Mascis concert. They got there somehow.


The boys got in a little early, each grabbed a couple of beers, and found a spot somewhat near the front, in the center of the crowd.


“Hey, Butt-Head, look at that!”


“What?”


“This guy’s a fucking J Mascis guy. He’s, like, smashing his guitar or something.”


“What the fuck you talking about, Beavis?”


“Look, Butt-Head! He’s, like, smashing his fucking guitar and there’s sparks going all over the place.”


“Really?”


“Yeah, look!”


Butt-Head looks.


“Holy shit, Beavis, you’re right. It’s fucking going all over the place.”


The sparks fly higher. A small fire catches beneath the drum kit.


“Hey, Beavis, look at that fucking drummer. His hair’s on fire.”


“Oh shit, Butt-Head! His hair’s on fire!”


“Is he gonna die?”


“Yeah, Butt-Head. Dying rules. Die, die, die!”

The drummer looks behind him, notices the fire, and kicks at a burning cable. A roadie rushes onto the stage with a fire extinguisher.


“Whoa, check it out, Beavis. He’s, like, putting out the fire or something.”


“Yeah, Butt-Head. What a dumbass.”


“Hey, Beavis, I’m gonna go to the bathroom and smoke a cigarette.”


“Okay, Butt-Head. Yeah, watch out.”


Butt-Head makes his way toward the bathroom.


Inside, he enters a stall and lights a cigarette. A pair of shoes appears beneath the partition.


“Hey, what are you doing in there? You smoking?”


“No. Shut up.”


Butt-Head takes a drag.


Fucking dumbass.


The man leaves.


Butt-Head finishes his cigarette and walks back into the hall.


J Mascis and the band prepare for the encore. The first few notes of “Electric Days” are played.


“Hey, Beavis! This is that song, ‘See You at the Movies,’ right?”


“Uh, yeah. I mean, no. I mean, I don’t know. Yeah. Uh…”


“Shut up, Beavis. It is. It’s ‘See You at the Movies.'”


“Yeah, whatever.”


The band continues to play “Electric Days.” Beavis looks up and starts paying attention

.
“Hey, Butt-Head.”


“What?”


“I think he’s saying, like, ‘Electric Days’ or something.”


“Yeah, dude. That’s part of the song.”


“Yeah, Butt-Head, I don’t think so.”


“Hey, Beavis.”


“Yeah, Butt-Head?”


“What if he’s singing, like, singing about the movies and the days are electric?”
“What?”


“You know, like, the days are electric and the movies are something.”


“Yep. That’s what I just said.”


“Yeah, whatever.”


The song builds. J Mascis leans into the guitar, his hair hanging over his face. The crowd moves closer to the stage.


“Hey, Beavis.”


“Yeah, Butt-Head?”


“Smash it, smash it.”


“Yeah, Beavis. He’s gonna smash it.


J Mascis finishes the song without smashing his guitar. The crowd cheers.


“Hey, Beavis, that guy was pretty cool.”
“Yeah, Butt-Head.”


“Think he smashes all his guitars?”


“Yeah, Butt-Head. He smashes his guitars.”


“Cool.”


“Yeah.”


“Hey, Butt-Head.”


“What?”


“Do you think he gets paid for that?”


“Shut up, Beavis.”


The boys finish their beers outside the ballroom.


“Hey, Butt-Head.”


“What?”


“I’m gonna go back in and get this guy J Mascis’s autograph.”


“Why?”


“Because he rules. I want, like, a fucking autograph or something.”


“Beavis, that’s stupid. What’s he gonna autograph? Like, your ass?”


“No, dumbass. I’ll get the poster, too.”


“Okay, fine, Beavis. Whatever. But with what money?”


“I got money.”


“Where’d you get money?”


“Shut up, I got money. Whoa, check it out. Four dollars.”


The boys walk back into the ballroom.
Inside, a line has formed near the stage. A folding table has been set up, with posters and a few records laid out on it.


“What the fuck is all this line about?” Move, people, move, move.”


“Shut up, Beavis. Get in line.”


The boys stand at the back of the line.


“Hey, Butt-Head. This is taking too long.”


“Shut up.”


“Hey, Butt-Head, what if he leaves?”


“Then you don’t get your stupid autograph.”


The line moves forward.


Eventually, Beavis reaches the table. J Mascis is sitting behind it, smiling politely.


“Hey, J.”


“Hey.”


“You’re fucking cool, J.”


“Thanks, man.”


“Can I get your autograph?”


“Sure.”


Beavis places four dollars on the table.


“Can I get a poster, too?”


“Yeah, they’re four bucks.”


J hands him a poster. Beavis looks at it.
“Whoa. This is fucking cool.”


J signs the poster and hands it back.


“Thanks, J.”


Beavis steps away from the table.


“Hey, Butt-Head, check it out.”


“Yeah, I saw that, dumbass.”


“I got this guy’s autograph.”


“So what?”


“I’m gonna be famous.”


“No, dumbass. J Mascis is famous. You’re not.”
“Oh yeah. I forgot.”


“Shut up, Beavis.”


“Yeah, but I got it.”

THE END

On The Death of the Second Life

Subtitle: Why Nobody Can Disappear Anymore

There’s a one in a billion chance we’re in base reality.

—Elon Musk

You’re a quick study, aren’t you?

—Freddie Miles, The Talented Mr. Ripley

I fought the law and the law won.

—Sonny Curtis

On Disappearing

It used to be possible to disappear. Not easy, exactly, and rarely clean. You needed nerve, mobility, a little money, a plausible story, perhaps a talent for accents, and the good sense not to return to the same bar every Thursday. You needed to understand that most identity was local. A man was the person his neighbors recognized, his employer paid, his landlord tolerated and the woman across the street remembered seeing come home. If he crossed an ocean, a mountain range or sometimes merely a state line, he passed through an interval in which nobody knew him well enough to contradict him. That interval was the birthplace of the second life.

The interval has nearly closed. A person may still abandon a marriage, occupation, city or circle of friends. He may stop answering the telephone and go silent on social media. The difficulty begins when he wants an apartment, salary, bank account, prescription, airline ticket or hotel room. The machinery that enables ordinary existence is now the machinery that identifies us. Every convenience asks the same question in a different form: are you still the person you were yesterday? The modern fugitive may escape a room, but eventually he needs an ATM.

This is not merely a criminal fantasy for me. Years ago I invented the Thin Man, the central figure in The Thin Man and Andrea, as an alter ego and doppelgänger. He is Niko, although the first book withholds even that. He carries an ambiguous face and an American-seeming education acquired elsewhere. He moves through the world of corporate espionage, which is partly a MacGuffin and partly an excuse to put him aboard a cruise ship, in hotel bars, and within striking distance of Andrea, Jessica, Maya, Desiree and women who sense that his absence of a past is also a kind of invitation. The submarine in the earliest version became a cruise ship because a cruise ship can plausibly contain a temporary world: flags, ports, false intimacies, a cabin to abandon and another country waiting in the morning.

The Thin Man was never fundamentally an alien or a figure composed of negative space, although traces of those early ideas remain. The governing fantasy was simpler. He was me without social, professional or familial responsibility. He could love somebody without joining her calendar. He could enter a city without owing the city an explanation. The plot offered him passports, handlers and invented business, but his real superpower was exemption. He lived without the claims that make an ordinary person locatable.

I now possess fewer of those claims than I once did. My professional responsibilities have diminished. My marriage has ended. My son is grown. In some respects I am living the Thin Man dream, although with less espionage and considerably more concern about hotel credits. The discovery is predictable but still worth making: relief from responsibility does not make a man somebody else. It simply leaves him alone with a clearer version of the same man.

Daniel Defoe understood the mechanical version of the fantasy three centuries ago. When I was fifteen, several friends and I discussed burning or drowning Moll Flanders. We meant the physical book, naturally, not Moll herself. The novel seemed interminable. Moll acquired another name, husband, lover, crime, punishment, jurisdiction and source of money; then the process began again. At fifteen this felt less like structure than clerical error. At fifty-two I can see that the repetition is the structure. “Moll Flanders” announces that the name is not her own. Her identity consists of whatever biography can survive the next room.

Moll is born in Newgate Prison, passes through households and marriages, becomes a thief, evades execution through transportation, returns to Virginia and eventually obtains prosperity and something resembling repentance. She can repeatedly become another woman because identity in her world is portable. It is held in clothing, speech, manners, money and the testimony of the few people nearby. A past can be defeated by distance.

John McAfee tried to perform the same operation in a world that already made it ridiculous. Wanted for questioning in Belize after the 2012 murder of his neighbor Gregory Faull, McAfee hid, fled and simultaneously turned his flight into a media production. He claimed that he buried himself in sand for hours with a cardboard box over his head. He dyed his hair repeatedly and stuffed chewing gum beneath his upper lip as a disguise. The founder of an antivirus company attempted to defeat recognition by making his mouth slightly lumpier.

McAfee possessed money, technical knowledge, mobility, paranoia and an almost supernatural resistance to embarrassment. He nevertheless contacted journalists, issued updates and supplied the public with a running commentary on his disappearance. A photograph posted by the Vice reporters accompanying him contained location metadata pointing toward Guatemala. McAfee wanted to vanish and receive credit for vanishing. That contradiction will return. For now it is enough to say that Moll Flanders could escape because nobody in Virginia had read the London file. McAfee carried the file with him, broadcasting all the way.

The Portable Self

The literature of disappearance flourished before the administrative state completed its map. Luigi Pirandello’s The Late Mattia Pascal, published in 1904, supplies the cleanest philosophical version. Mattia, trapped in an unhappy life, discovers that a corpse has been mistaken for his own. The world has accidentally released him. He takes another name and attempts to enjoy the freedom of a man officially dead.

But a man without a past possesses no enforceable future. Mattia’s second identity cannot securely marry, own, complain to the police or participate in the institutions through which personality becomes social fact. He has escaped the first life without acquiring the legal substance required for a second. Pirandello arrives at the modern paradox before biometrics: identity is a burden until one needs its protection.

Jean Valjean and Edmond Dantès offer opposing French solutions. Valjean becomes Monsieur Madeleine through moral action. He builds an industry, employs a town, practices generosity and becomes mayor. He changes so completely that the humane judgment is to regard him as a different man. Javert refuses. For Javert, the file is the man, and goodness performed under an alias is merely a fugitive’s more sophisticated disguise. Les Misérables places grace in conflict with administrative continuity.

Dantès, in The Count of Monte Cristo, builds identity through theater and money. Wealth buys clothes, servants, property, introductions, silence and the assumption of prior importance. Nobody asks the Count for a childhood photograph because aristocratic confidence authenticates itself. Dantès does not erase his first life so much as return with a second one powerful enough to prosecute it.

James Gatz performs the American variation. He becomes Jay Gatsby not primarily to evade the law but to escape poverty, embarrassment and the intolerable smallness of his assigned place. Gatsby manufactures manner, history and spectacle. His tragedy is not that the new identity convinces nobody. It convinces almost everybody. Daisy remains dangerous because she knew him before the costume was complete. The person who remembers the original name possesses veto power over the second life.

These stories depend upon a portable self: an identity capable of crossing a boundary and being accepted on the strength of performance. Sometimes the transformation is moral, sometimes theatrical and sometimes criminal. Each assumes that a society contains blank spaces. The traveler enters one and begins supplying information before contradictory information arrives.

You’re a Quick Study, Aren’t You?

Tom Ripley is the great student of the portable self. In Patricia Highsmith’s novel and Anthony Minghella’s 1999 film, Tom begins as a watcher. He studies wealth before he attempts to inhabit it. He studies jazz, handwriting, clothes, gestures, voices and the particular freedom enjoyed by people whose money causes strangers to complete their stories for them. Dickie Greenleaf possesses everything Tom lacks: beauty, ease, inheritance and the right to become bored with other people.

Tom’s desire is not reducible to robbery. He wants proximity to Dickie, then recognition from Dickie, then the life of Dickie. When those desires become incompatible, murder provides the transition. Tom can imitate Dickie because he has watched with the concentration of the excluded. The peeping is apprenticeship.

Freddie Miles recognizes the dangerous speed of Tom’s education. Visiting Dickie’s Roman apartment, he notices that Tom suddenly understands the geography, furnishings and habits of a life in which he supposedly remains a guest. “You’re a quick study, aren’t you?” Freddie asks. It is a brilliant accusation because it identifies the one part of imitation that cannot be disguised: the curve of improvement. Yesterday Tom did not know where anything was. Today he gives directions.

Seconds later, Tom kills him with the stone head of Hadrian. A Roman emperor becomes the instrument by which the social climber removes a witness. The joke is almost too exact. Freddie does not possess fingerprints or facial-recognition software. He possesses memory, class instinct and contempt. He knows what Tom looked like before Tom learned the role.

Tom’s impersonation is fraudulent, but it is also emotionally sincere. Being Dickie feels more authentic to him than remaining Tom. That is why Ripley endures beyond the machinery of the thriller. He embodies the suspicion that our socially verified identity may be less true than the person we could convincingly perform if nobody interrupted us. He also demonstrates the price. Each new witness becomes a threat because the second life demands the permanent editing of the first.

The criminal achievement eventually becomes less impressive than the psychological imprisonment. Tom escapes particular investigations, but he cannot stop monitoring the room. He must hear every hesitation in his adopted name and see every glance toward the piano, ring or signature. A successful second life is not freedom. It is a part one can never stop playing.

Dick Whitman and Don Draper

Dick Whitman performs the most durable modern transformation in American television. During the Korean War, an explosion kills Lieutenant Donald Draper beside him. Dick exchanges identification tags with the dead officer, survives under Draper’s name and returns to the United States inside a clerical conclusion. War supplies the confusion, body and paperwork. The dead man exits; the living man acquires his place.

Unlike Ripley, Don does not live permanently at the edge of exposure. The new identity accumulates institutional weight. Don works, pays taxes, marries, buys property, fathers children and builds a career. Time itself begins authenticating him. After enough years, the invented man possesses more documentary substance than the abandoned one.

Advertising is the ideal profession because Don’s labor reproduces his own transformation. He takes an ordinary product, suppresses its manufacturing history and gives it a story people prefer. He does the same with himself. The handsome executive, suburban husband and creative genius are not wholly false. They are real accomplishments attached to stolen paperwork.

Yet Mad Men understands that the administrative victory cannot settle the psychological case. Dick is not chiefly afraid that a camera will recognize him. He is afraid that intimacy will. Every person who approaches Don closely eventually reaches the locked room containing Dick Whitman: his poverty, family, desertion, shame and the knowledge that another man’s death financed his ascent.

The Thin Man fantasy and the Don Draper fantasy meet here. Remove the obligations, choose the wardrobe, enter the next room with a name nobody questions. What remains is the person who performed the removal. The Eagles’ old line is unavoidable: “You can check out any time you like, but you can never leave.” One may leave a home, spouse, profession and nation. The ghosts keep the original booking.

The Missing and the Dead

Ambrose Bierce entered Mexico in 1913 and disappeared. That is nearly everything we know about this paritcular case. He may have joined Pancho Villa’s forces, reached Chihuahua and died quickly. He may have been executed, killed himself, succumbed to illness or continued traveling. The absence of evidence has generated a century of endings because disappearance makes authors of the people left behind.

Bierce had already written one of literature’s cruelest imaginary escapes. In “An Occurrence at Owl Creek Bridge,” Peyton Farquhar falls from a bridge with a rope around his neck, escapes into the water, runs home and approaches his wife—only for the narrative to reveal that the journey occurred inside the final instant before his broken body swings beneath the bridge. The mind creates a second life because the body has no exit. Bierce’s own disappearance feels uncannily like an extension of the story, although we should resist converting formal elegance into evidence. He probably did not begin again. He probably died where the map became uncertain.

John List demonstrates how recently a complete second life remained possible. After murdering his wife, mother and three children in New Jersey in 1971, he traveled west and became Robert Peter Clark. He found accounting work, joined a Lutheran church, remarried and lived within ordinary society for nearly eighteen years. List was not sleeping in a cave. He was commuting, filing returns and participating in carpools. The jurisdictions containing John List and Robert Clark did not effectively speak to one another.

Television finally forced the conversation. America’s Most Wantedaired the case in 1989 using an age-progressed sculpture whose resemblance to List was extraordinary. A former neighbor recognized him. Fingerprints from his military records completed the identification. List stands at the border between eras: he constructed the second life through disconnected paper systems and lost it when mass media connected a face to the buried name.

John Darwin attempted the comic British variation in 2002. He paddled into the North Sea, staged his death and allowed his wife to collect insurance and pension payments while he secretly lived nearby. The plan expanded toward Panama. It collapsed when an online photograph showed the supposedly dead man beside his wife. A basic image search linked John, Anne and Panama. The second life had appeared on the first page of the internet.

Robert Hoagland achieved something quieter. He vanished from Connecticut in 2013 and lived in New York as Richard King until his death in 2022. The new life appears to have been modest rather than operatic. That may be the surviving modern model: abandon grandeur, remain geographically ordinary, ask institutions for as little as possible and hope nobody searches the correct connection. His identity was established after death.

Ryan Borgwardt showed in 2024 how poorly the romantic disappearance now survives contact with the contemporary record. He staged a kayaking death in Wisconsin and left the country. Investigators found evidence of preparation, travel and financial activity, contacted him abroad and persuaded him to return. In 2025 a judge sentenced him to eighty-nine days in jail, matching the period during which he had actively misled authorities, and ordered restitution toward the costly search. The symmetry of the sentence was better than the plan.

These cases are morally different. Bierce may simply have died. Hoagland appears to have abandoned a family without committing the crimes of List or Darwin. List was a murderer. The point is not to place them in one ethical category. It is to watch the available space contract. List could build an ordinary life for eighteen years. Borgwardt’s itinerary began becoming evidence before his family had finished grieving.

You Could Call It the End of the World

Money is the most practical border. A person can sleep outdoors without identification. The moment he wants a hotel, apartment, salary, international ticket or functioning bank account, somebody asks for the name behind the money. A friend of mine treats $9,999 as the largest sum one may carry into the United States. The actual rule is subtler: more than $10,000 may be transported legally, but it must be declared. Japan similarly requires declaration above one million yen. The threshold is not a wall. It is a checkpoint at which money becomes narrative. Where did it come from? Why are you carrying it? Who are you?

The old fugitive relied on fragmentation. A birth certificate sat in one office, fingerprints in another, employment history in a filing cabinet, border entries in ledgers and newspaper photographs in local archives. None of these systems was necessarily weak. They simply did not consult one another quickly. The fugitive’s skill lay in remaining inside the delay.

The decisive modern development is linkage. Passports became machine-readable and biometric. Banking systems identify customers and flag patterns. Phones create location and relationship histories. Cameras no longer merely preserve images; increasingly, software compares faces. Search engines connect photographs with names and places. DNA can identify a person who never submitted a sample because a distant relative did. Public records, commercial databases and social media supply continuity from childhood to the present.

Every system contains errors. Facial recognition misidentifies people. Records conflict. Databases leak. Names are misspelled. The second life does not die because any single machine knows everything. It dies because machines ask one another. The old fugitive needed to prevent one sheriff from telephoning another. The modern fugitive must prevent every machine from recognizing every other machine.

Josef Rusnak’s largely forgotten 1999 science-fiction film The Thirteenth Floor supplies the finest image of this condition. Douglas Hall, a computer scientist in Los Angeles, discovers that the simulated version of 1937 Los Angeles created by his company contains conscious inhabitants. More disturbingly, he learns that his own Los Angeles is another simulation. Following instructions left by his murdered mentor, Hall drives toward Tucson, ignores the road signs and barricades, and eventually reaches the boundary of his universe. The desert stops. The mountains dissolve. Beyond them stands an unfinished green wireframe—the scaffolding of a world nobody expected its inhabitants to inspect. Hall has not merely failed to escape Los Angeles. He has reached the place where Los Angeles runs out.

“You could call it the end of the world,” he says. The line is quiet because terror has already done the shouting. Moll Flanders could leave one town and supply the next with another name. Valjean could cross into another jurisdiction. Dick Whitman could exchange identification tags with a dead officer. Hall cannot accomplish even the preliminary act of departure because the road, desert and destination belong to the same system.

There is no countryside beyond surveillance and no unindexed territory in which to begin again; there is only the end of the program. Our world has not yet become Hall’s wireframe desert, but it increasingly resembles it. Every road leads toward another camera, account, border record or machine asking the traveler to confirm that he remains the person who departed.

The inhabitants of the film’s simulated 1937 discover that their world was created for users elsewhere. Hall then discovers that his apparently real 1999 is also one among thousands of simulations. “You weren’t supposed to find out,” he is told. The sentence might serve as the motto of every identity system. The structure works best when the contained person mistakes its limitations for the natural shape of reality.

Elon Musk’s claim that there is only a one-in-billions chance of our inhabiting “base reality” is not a scientific calculation. It is a swaggering compression of the simulation argument: if advanced civilizations produce enormous numbers of conscious simulated worlds, a randomly situated observer is more likely to occupy one of those than the single original reality beneath them. Whether or not Musk is right, The Thirteenth Floor understands the emotional consequence. The final disappearance is not concealment within the map. It is the impossible search for a place outside it.

The Last Fugitive

John McAfee deserves the title because he possessed nearly every advantage. He had money, international mobility, technical knowledge, familiarity with surveillance, political connections, access to boats and aircraft, and the willingness to behave in ways a normal investigator might not predict. He also possessed a cardboard box.

I have long suspected that McAfee knew more about Gregory Faull’s murder than he admitted, perhaps much more. That is an opinion, not a proven fact. Belizean authorities sought McAfee for questioning, but he was not convicted or charged in connection with the killing. Suspicion does not become evidence merely because its subject is spectacularly strange.

I nevertheless wanted McAfee to remain in circulation. I wanted him alive, ranting online, threatening to parachute into Fukuoka, appearing without warning at a Kyoto bar and ordering a strip steak while explaining that income tax was metaphysically invalid. This is not a defense of anything he may have done. It is an admission that fugitives provide a form of entertainment respectable citizens cannot. McAfee turned the ordinary police question—where is this man?—into theater.

His technical competence makes the comedy sharper. He knew that networks retain traces. He warned endlessly about surveillance. He promoted cryptocurrency and privacy as routes around state control. Yet his own need for audience continually defeated his wish for concealment. He contacted reporters while hiding, traveled with a film crew, cultivated disguises elaborate enough to become stories and generated the publicity through which strangers could follow him.

The Vice metadata incident is almost too perfect. A technology journalist accompanying the antivirus pioneer posted a photograph containing geographical information. The machine did not need to recognize McAfee’s altered face or chewing-gum lip. It merely reported where the photograph had been made. McAfee’s legend and location traveled inside the same file.

This is why he is the last fugitive rather than the greatest one. A true second life requires anonymity. McAfee could tolerate danger, accusation, ridicule and legal jeopardy. He could not tolerate being unknown. He wanted to disappear and narrate the disappearance, to escape the state while retaining the crowd. The modern fugitive may finally be defeated less by the camera than by his inability to live without looking into it.

That appetite is not confined to eccentrics. We announce departures, document privacy, turn reinvention into a new profile and carry our old audiences toward the new life. The desire to become somebody else competes with the desire to have everyone recognize the transformation. Moll Flanders supplies the next town with a story. McAfee supplies the whole planet with updates.

Coda

Is the death of the second life good or bad? Neither. It is a historical development with benefits, cruelties and unforeseen emotional costs. Connected systems catch murderers, fraudsters and people attempting to abandon obligations. They also make escape more difficult for abused spouses, political dissidents, debtors, refugees and ordinary human beings whose worst mistake has become permanently searchable. Accountability and mercy do not rise together automatically.

There remains an important distinction between disappearance and reinvention. An adult can legally change a name, move, choose another occupation, close public accounts and refuse contact. The state does not require everyone to preserve the social life into which he happened to arrive. But legal reinvention preserves continuity. Debts, convictions, parenthood and court orders belong to the person through the change. The first life is not erased. It is amended.

The Thin Man occupies the fantasy beyond amendment. He moves without the drag of continuity. He may enter Andrea’s life, Jessica’s cabin or another city under circumstances that do not require him to explain the previous scene. I invented him because I wanted the freedom of a man nobody could summon. Yet even he carries Niko beneath the working identity. Georgia remains inside him. Education, language, childhood, loss and desire cross every border without documentation.

That is the final limitation, older than passports and more reliable than facial recognition. You cannot outrun your ghosts. A person may defeat the file and still remain the person described by everything the file omitted. Tom Ripley acquires Dickie’s signatures but retains Tom’s hunger. Don Draper obtains Don’s career but brings Dick’s shame into every marriage. McAfee crosses borders with the cardboard box and John McAfee climbs out from beneath it.

At fifteen, I thought Moll Flanders was shapeless because Moll repeatedly acquired another husband, name, occupation, crime, punishment and jurisdiction. Now the repetition looks like the record of a vanished human possibility. Moll continually finds another exit. We inhabit a world of fewer exits, better records and longer memories.

Perhaps this is why stories of disappearance retain their force. They promise that one life need not be final. Somewhere beyond the jurisdiction, ocean, desert or wireframe mountain waits a place where nobody knows what we have done and no machine asks us to confirm it. We know better. The map follows us, and even if it did not, we would arrive carrying ourselves.

Moll Flanders could become another woman. We can only become ourselves somewhere else.

Sources

Daniel Defoe, Moll Flanders (1722), and Encyclopedia Virginia’s account of the novel’s transportation plot.

Luigi Pirandello, The Late Mattia Pascal (1904).

Victor Hugo, Les Misérables; Alexandre Dumas, The Count of Monte Cristo; F. Scott Fitzgerald, The Great Gatsby.

Patricia Highsmith, The Talented Mr. Ripley, and Anthony Minghella’s screenplay for the 1999 film.

AMC, Mad Men: the Dick Whitman/Don Draper identity narrative.

Project Gutenberg and the Ambrose Bierce Project, “An Occurrence at Owl Creek Bridge” and biographical materials.

FBI historical materials on John List and the America’s Most Wanted identification.

Contemporary reporting on John Darwin, Robert Hoagland and Ryan Borgwardt.

U.S. Customs and Border Protection and Japan Customs guidance on cross-border currency declarations.

U.S. Department of Homeland Security, biometric identification materials.

Josef Rusnak, The Thirteenth Floor (1999), adapted from Daniel F. Galouye’s Simulacron-3.

Code Conference 2016, Elon Musk’s discussion of simulation and “base reality.”

Contemporary Wired, Guardian and Vice reporting on John McAfee’s flight from Belize.

Habbibi Habbibi, You’re No Habbibi of Mine

“20th Century Habbibi.”
— Me, by way of T. Rex

“I’d go the whole wide world just to Habbibi.”
— Me, by way of Wreckless Eric

HABBIBI I:

There are Habbibis everywhere. This is one of the things I have learned.

There are Habbibis on trains. Habbibis behind counters.

Habibis smoking cigarettes outside convenience stores. Habbibis who give directions and Habbibis who give you cigarettes and Habbibis who cannot help you but seem genuinely sorry about it.

There are bank Habbibis, hotel Habbibis, street Habbibis, temporary Habbibis, provisional Habbibis and men who look extremely promising from fifty meters away but turn out, upon closer inspection, to be no Habbibi of mine.

Oh Habbibi Habbibi Habbibi you’re fine, but Habbibi you’re no Habbibi of mine.

Habibi is not a word anymore. I understand that it was a word before I got hold of it. It is now an all-purpose descriptor for people and things of all kind. I apologize in advance to Arabic.

It is now a lexical system.

A Habbibi is somebody who makes the world briefly less difficult.

That’s it.

You’re broke. You’re sweating. Your bankbook has betrayed you. Your hanko has vanished. You have dragged your suitcase halfway across Kyoto for reasons that seemed compelling three hours ago. You are beat.

You are hungry. You are thirsty. You need a cigarette. Bad.

You have reached that peculiar point in the day when every automatic door, ticket gate and escalator appears to have developed a personal grievance against you.

And then somebody does one decent thing.

Nothing enormous. He holds the door. She tells you where the elevator actually is.

The guy behind the counter understands your terrible Japanese and does not make a production of it.

Some glorious bastard gives you an entire pack of Marlboro Reds when you have almost no money.

Habibi

My Habbibi. You motherfucking Habbibi of mine. Be my Habbibi for all time.

You don’t earn Habbibi through greatness. Greatness might actually work against you. Nobody needs another great man. History is crawling with great men, and look what they’ve done to the place.

A Habbibi is smaller.

My Habibi is local.

A Habbibi is the guy who sees that you are having a bad day and, without knowing anything about you, makes it three percent better.

Three percent is enormous.

I know because some days I have been living on three percent.

Of course Habbibi status can be revoked just as quickly as it was granted. There is no tenure. No due process. No appeals court. One minute you are Habbibi, my Habbibi. The next you are not.

Habbibi Habbibi Habbibi this time…

You’re still no Habbibi of mine. Habbibi.

HABBIBI II:

There are other Habbibis.

Paul Westerberg, a.k.a. Pauly Paul the lead singer of the Replacements is a serious Habbibi. He’s is one glorious motherfucking Habbibi that’s for sure.

He had his moments of depression. He talked about suicide. Oh Habbibi. Before all shakedown, Habbibi stop it. Nevertheless, he carried on. Thank god Habbibi. Oh my Habbibi.

Give him his props, Habbibi. Habbibi.

Habbibis III-IV:

Lemmy Habbibi.

Mr. Motörhead himself. Oh Habbibi.

Now, I don’t know enough about Lemmy it’s true. That’s all right. You don’t have to know everything about a Habbibi to recognize one in the wild.

Lemmy looked like a Lemmy. And a Habbibi. RIP Habbibi my Habbibi. There was no second Lemmy. Nobody at the factory said, Yeah, give me another one of those. 

They made Lemmy, broke the mold, smoked whatever was left of the mold, plugged a Rickenbacker into an amplifier approximately the size of Luxembourg and got the fuck out of the way. Habbibi, play the ax my man.

Habbibi rip it up.

Habbibi had the mutton chops. The mole. The boots. The hat. The cigs. The bass slung over his shoulder like it was not a bass at all but some kind of industrial equipment he had been licensed to operate under an obscure British law. Habbibi. Chill.

And that voice.

Not a beautiful voice. A Lemmy voice.

That’s better. Habbibi you’re bizarre. Habbibi.

He was in Hawkwind. He got thrown out of Hawkwind. Fine. Habbibi. He went and made Motörhead. Better Habbibi. He spent decades making the music he wanted to make, at the volume he wanted to make it, which was fucking loud. Naturally. Habbibi crank that motherfucker up to 110. Good god Habbibi. Settle down.

And he kept going.

That’s the Habibi part.

Not because everything was good. Not because everything he did was admirable. Not because surviving automatically makes anybody wise.

Because the motherfucker remained unmistakably himself. Habbibi.

Paul Westerberg did too.

Different Habbibis, same genre.

Pauly could disappear into the basement, get sad, get strange, write something devastating, come back upstairs, fuck around with the Replacements and occasionally set the whole fucking building on fire.

Lemmy just seemed to be there.

Same Habbibi. Year after year. Decade after decade. The world changed. Lemmy kicked it. RIP.

Habbibi

HABBIBI IV:

Krispy Kreme Habbibi

Habbibi, Habbibi, Habbibi it’s fine

Habbibi you’re no Habbibi of mine

Shut the fuck up, Krispy Kreme.

Fuck you.

Fuck off, Krispy Kreme.

You’re too delicious. You’re too damn nice. You’re too damn tasty, baby.

There’s no reason for a doughnut to behave like this.

A doughnut should have some structural integrity. It should put up a fight. I should bite the doughnut and the doughnut should, at a minimum, acknowledge that an exchange has taken place.

Not you you punk.

You melt on my motherfucking tongue, Habbibi.

You’re barely food. You’re an event. A glazed little hallucination. Somebody took flour and sugar and oil and bad judgment and engineered a small edible pillow that disappears six seconds after entering the my mouth.

Habbibi

And the Original Glazed? That’s the one.

Fuck off.

Don’t put cereal on it. Don’t put a fucking candy bar on it. Don’t make it purple. Don’t make it Pokémon. Don’t put twelve additional Habbibis on top of the original Habbibi.

Give me a hot one.

Give me the glaze.

Give me that sweet, sweet cream. Powder cream, baby. Of course.. Nice one Habbibi.

And then you put twelve of the motherfuckers in a box.

Why twelve?

That is irresponsible.

Nobody needs twelve Krispy Kremes. Nobody has ever needed twelve Krispy Kremes. Twelve Krispy Kremes is not a food purchase. It is in fact an Habbibish situation. Whatever that means. Habbibi oh Habbibi you are a Habbbibi of mine. I guess.

Habbibi.

Dedication:

To each and every Habbibi around these days. You rule my Habbibi. And yes Habbibi, you are, after all, still my Habbibi. Habbibi.

Bill Simmons’ Half-Baked Ideas

Note: Free vasectomies. Sicario Fantasy Camp. Bring back dumbwaiters. These ideas are not fully baked. That is the point.

This piece represents my first attempt to come up with some of what Bill Simmons and Kevin Wildes call “Half-Baked Ideas.” Simmons is, of course, the longtime sportswriter and podcaster whom I have discussed elsewhere on The Kyoto Kibbitzer. I roasted him pretty good in that piece, but that’s okay. He can take it.

“Half-Baked Ideas” is not my very favorite of Simmons’ recurring bits, but Simmons and Wildes are always funny, and I enjoy the bit. So, of course, I decided to try to come up with some of my own.

This proved to be a little difficult. For Half-Baked Ideas, you really have to thread the needle between complete absurdity and partial plausibility. A Half-Baked Idea can’t simply be a terrible idea. It needs to sound just reasonable enough that somebody might listen to it and think, You know, that actually might work. Then, usually about ten seconds later, the whole thing should begin to fall apart.

For my version, Simmons will be joined by his old friend Cousin Sal. Why? Because I know Cousin Sal better, and this is my website.

Half-Baked Idea #1: Free Vasectomies

SAL: Dude, I think I got one. I think this is the definition of a Half-Baked Idea.

BILL: What’s that, Sal?

SAL: Free vasectomies. Every city in America. Several locations. But here’s the thing: they have to be immediately reversible.

BILL: Okay…

SAL: Because think about it, Billy. You got a hot date with Tracy. You think you’re gonna score. You don’t want to use a condom, obviously.

BILL: Obviously?

SAL: Come on, Billy. You’ve been known to pull the goalie from time to time.

BILL: Maybe.

SAL: So you stop in on the way to dinner. Get the snip. Boom. You and Tracy get down to business. Next morning, you go back and get it reversed. No problem.

Pause.

BILL: I kind of like it.

SAL: Right?

BILL: Except then you’re getting surgery before every date.

SAL: It’s not surgery, Billy. It’s the snip.

BILL: I think the snip is still surgery.

SAL: All right, whatever. That’s why they have several locations.

END SCENE.

Half-Baked Idea #2: Sicario Fantasy Camp

BILL: Okay, Sal, I think I got a good one too.

SAL: Okay. Hit me with it.

BILL: Dude. Picture this. It’s just called Sicario Fantasy Camp.

Pause.

SAL: Hmm. I guess it could work. But how?

BILL: Well, just think about it. You get to choose from five characters. You can be Matt Graver. You can be Benicio. You can be Kate. You can be Kate’s partner. Or you can be Ted, the cowboy guy who tries to kill Kate and pays the price.

SAL: Why would anybody pick Ted?

BILL: I don’t know. Somebody’s gotta be Ted.

SAL: Okay.

BILL: Then you spend the weekend doing Sicario things. You get the sunglasses. The tactical gear. You ride around in a convoy—

SAL: Where?

BILL: Arizona. Somewhere. And, Sal, get this.

SAL: What?

BILL: You get to fly a drone.

SAL: A real drone?

BILL: Yeah.

SAL: With missiles?

BILL: No, Sal. They’re not gonna give you missiles.

SAL: Well, then what am I doing with the drone?

BILL: Sicario things.

Pause.

SAL: I don’t know, Bill. Sounds a little complex. And the movie’s kinda old.

BILL: Come on, Sally. Everybody loves Sicario, right?

SAL: Yeah, Bill. You do, anyway.

Later, at the pitch meeting

Several executives sit across the table from Simmons.

EXECUTIVE: Okay, Bill. And what exactly do people do in Arizona for the whole weekend?

Pause.

BILL: Sicario things.

END SCENE.

Half-Baked Idea #3: Bring Back Dumbwaiters

BILL: Okay, Sal, we gotta wrap soon. What’s your last one?

SAL: Okay, Bill. I’ve been thinking about this one for a little while.

BILL: Okay.

SAL: I don’t have it fully worked out yet.

BILL: Great start.

SAL: But basically, it’s: bring dumbwaiters back.

BILL: Dumbwaiters?

SAL: Yeah.

BILL: Were they gone?

SAL: Exactly, Billy. That’s the problem. Nobody knows.

BILL: Okay, but that’s not quite what I meant.

SAL: Think about how much shit you carry around your house every day. Food. Drinks. Laundry. Amazon boxes. Whatever. Why am I carrying this stuff upstairs myself? It’s 2026.

BILL: So you want an elevator for your sandwich.

SAL: Not just the sandwich, Billy. Anything.

BILL: How big is this dumbwaiter?

SAL: I don’t know. Pretty big.

BILL: Can a person fit in it?

SAL: No.

Pause.

SAL: Maybe a kid.

BILL: Sal.

SAL: I’m not saying you put the kid in there. I’m saying technically the kid fits.

BILL: Okay, so now every house in America has this child-sized elevator going between floors.

SAL: Exactly.

BILL: That seems incredibly dangerous.

SAL: Well, we’ll put a sticker on it or something.

BILL: Okay, sure, Sal.

END SCENE.

And the drone is the next beat:

BILL: Then you spend the weekend doing Sicario things. You get the sunglasses, the tactical gear. You ride around in a convoy—

SAL: Where?

BILL: Arizona. Somewhere. And, Sal, get this.

SAL: What?

BILL: You get to fly a drone.

Pause.

SAL: A real drone?

BILL: Yeah.

SAL: With missiles?

BILL: No, Sal. They’re not gonna give you missiles.

SAL: Well, then what am I doing with the drone?

BILL: Sicario things

The Most Insane People of All Time (aka You’re Outta Control!): #4 Azalia Banks

I just wanna sip the punch with your peeps and
Sit in that lunch if you’re treatin’

— Azealia Banks, “212”

I. Introduction

In my opinion, Azealia Banks is the greatest rapper of all time.

I do not say this lightly.

These days, I don’t listen to much rap and hip-hop. I regret this a bit. However, life is short, there is a lot to do, and there is simply too much music to listen to. I am familiar with and enjoy a number of hip-hop artists, mostly from the late 1980s and 1990s: LL Cool J, Sir Mix-a-Lot, Wu-Tang Clan, KRS-One and A Tribe Called Quest, among others. I especially like A Tribe Called Quest’s “I Left My Wallet in El Segundo.”

Of course you did, dude. You went to El Segundo. You lost your fucking wallet. Naturally.

I also enjoy the more jazz-inflected end of the genre: De La Soul, Digable Planets and Basehead. Among later artists, I know Nas, Kendrick Lamar and Kanye West to varying degrees. Kanye is, of course, completely outta control. I do not believe I am alone at this point in saying that I do not care for Kanye West as a person. His flirtation with Nazi imagery and rhetoric is indefensible. Nevertheless, Kanye is certainly a talented artist, and I do like—or at least once liked—My Beautiful Dark Twisted Fantasy. Its lyrical density and imagination are something to behold.

However other than Azealia, my favorite rap group remains Public Enemy.

Public Enemy arrived when hip-hop was still a relatively young genre, and pushed it into territory that was denser, louder, angrier, more political and, to my ears anyway, considerably more interesting. I respect N.W.A. and their place in the tradition. I like “Fuck tha Police” well enough. Ice Cube obviously went on to enormous fame and fortune, and Eazy-E had a tough life. RIP. Nonetheless, for my money, Public Enemy is the more important and enjoyable group. “911 Is a Joke” is great. “Welcome to the Terrordome” is my favorite Public Enemy song. Terradome rules.

So I guess at the end of the day I do regard Chuck D as the greatest rap/hip-hop lyricist of all time. However, these days I don’t find myself listening to Public Enemy all that often. “212,” on the other hand, I listen to regularly.

And baby, here we go.

212

It only makes sense to start with “212.”

Azealia Banks released “212” in 2011, when she was twenty years old. It subsequently appeared on her four-song 1991 EP in 2012 and, eventually, on her debut album Broke with Expensive Taste in 2014. 

“212” is stuffed with the most amazing collection of rhymes, near-rhymes, internal rhymes and alliteration I have ever heard. I understand that hip-hop and rap lyrics depend on these techniques and that plenty of rappers have demonstrated extraordinary mastery of them.

Azealia, in my opinion, takes the whole thing to another level.

My favorite line in the song, by far, is not even one of the blue lines:

I just wanna sip that punch with your peeps and / Sit in that lunch if you’re treatin’

I love this line so very much, primarily because it establishes Azealia’s modus operandi when it comes to her business and career.

Azealia is on the come-up. She’s going places. She has designs on the crown. The girl has talent for days, and the industry is listening. But the second half is arguably even more essential to understanding how Azealia works.

She wants to sit in that lunch if you’re treatin’. Then or now, Azealia Banks is the last person who is ever going to pay for lunch.

This, incidentally, makes the eventual title Broke with Expensive Taste almost impossibly perfect.

And then we get this:

I’m the one today / I’m the new shit, boo / Young Rapunzel / Who are you, bitch? New lunch?

Followed, repeatedly, by this immortal threat:

I’ma ruin you, cunt.

Of course you are, Azealia. Of course you are.

The funny thing is that these lines would prove somewhat prophetic.

Azealia clearly thought she was the shit.

I agree.

“212” was an extraordinary announcement of a young artist who seemed capable of doing almost anything. Contemporary critics heard it too. When Pitchfork reviewed 1991 the following year, the publication was already emphasizing the slyness beneath Banks’s aggression and the enormous expectations surrounding her. 

And then Azealia started ruining people. For real.

I’ma Ruin You Cunt

Azealia Banks has been involved in so many public feuds that trying to compile a complete list would require an entirely separate essay.

This is not that essay. Instead we will take a few representative samples.

There was Zayn Malik. In 2016 Banks accused the former One Direction singer of copying her aesthetic. That dispute escalated into an extraordinarily ugly series of racist and homophobic attacks from Banks. Then the fourteen-year-old Disney actress Skai Jackson made the apparently catastrophic decision to tell Azealia to simmer down.

Baby no.

You do not tell Azealia Banks to simmer down. No one does. Azaalia does not settle. Period.

Banks promptly opened another front, this time against a fourteen-year-old girl. Sure babes, why not. Ruis her too. Just because. Twitter suspended her account, and a UK festival subsequently dropped her from its lineup. This is one of the places where we can move beyond speculation about whether Azealia’s behavior damaged her career. Here it plainly did. 

And then there was Grimes.

Oh my God. Baby take an aspirin. Now.

In 2018 Banks went to Los Angeles expecting to collaborate with Grimes and ended up at the house Grimes shared with Elon Musk. The proposed musical collaboration went nowhere. Obviously. Banks hung around for a bit and then things got weird. Real weird.

Banks began posting about the experience publicly, describing her time with Grimes and Elon as bizarre and increasingly hostile terms and making allegations about Musk and drug use. Musk denied the drug allegation. But somehow an aborted Azealia Banks/ Grimes recording session had become entangled with Musk’s already notorious “funding secured” Tesla tweet and the securities controversy surrounding it.

That’s the thing about Azealia.

She can start out trying to make a song with another musician and somehow end up adjacent to a federal securities investigation involving one of the richest men on Earth.

How?

Because she is Azealia Banks baby. And you are not. No other explanation required.

And these were hardly isolated incidents. She feuded with T.I. and Iggy Azalea. She attacked Perez Hilton. Of course. She criticized Pharrell, Baauer and Disclosure. Pitchfork noted as early as 2014 that some of these fights were no longer merely entertaining sideshows: they were costing her potentially valuable collaborators. She was hurting career for no apparent reasons. At all.

Azealia would gun down anybody. She does not give a single shit.

Men. Women. Musicians. Producers. Celebrities. Minor celebrities. People who were minding their own business. People who were very much not minding their own business. Teenagers. Whoever. Whatever. Funk em all Azealia. Fuck em all.

It didn’t matter.

I’ma ruin you, cunt.

And she did.

Broke with Expensive Taste

The tragedy—or comedy, depending on how you look at it—is that through all of this Azealia Banks remained enormously talented.

Her debut album, Broke with Expensive Taste, finally appeared in November 2014 after years of delays and a disastrous relationship with Interscope Records. Banks had gotten herself released from her deal and retained the rights to the recordings. The record finally came out on her terms. More or less. 

And the critics liked it. Quite a lot, actually.

The Guardian described a record luxuriating in sound and language, bouncing around among underground club music, house, garage and stranger territory. Pitchfork heard essentially the same thing: an artist jumping almost recklessly among genres, held together by Banks’s own voice and formidable technical ability. 

I recently listened to Broke with Expensive Taste again and really enjoyed it. Some of it runs a little long for me, but there is great stuff all over the record.

All this complicates the easy story.

It would be simple to say Azealia Banks destroyed her career because she couldn’t stop fighting with people. It would also be wrong.

The record industry contributed plenty to the mess. Her relationship with Interscope was dysfunctional. Banks believed the label simply did not understand the record she wanted to make. There is some evidence that she was right. Broke with Expensive Taste is a strange record. It is difficult to classify. It does not sound particularly interested in behaving like a conventional major-label rap debut.

Indeed, after Banks finally got out of the Interscope arrangement, she told Pitchfork that other labels liked the album but remained wary of her. Banks laughed about her reputation. 

So the record-company story and the Azealia story meet somewhere in the middle.

The industry didn’t know what to do with her. Azealia frequently didn’t know what to do with Azealia. She is, of course, totally outta control at all times.

And nobody knew what the fuck was going on.

The Prophecy

There is one more remarkable thing about “212.”

Amid all the obscenity, comedy, sexual swagger, threats and spectacular displays of technical skill, Banks suddenly turns the camera around.

She warns herself:

Why are you procrastinating? You have all this talent. Baby you’re wasting it. People are going to forget you, and when they do, ultimately you’ll have yourself to blame.

TIME noticed the eerie quality of this almost immediately when Broke with Expensive Taste finally appeared in 2014. What had sounded in 2011 like the self-motivation of an extraordinarily ambitious young artist three years later sounded like prophecy. 

That strikes me as much more interesting than another catalogue of Azealia Banks saying outrageous shit on the internet.

Because the talent is real. The promise is real. The record is real.

And this is why Azealia Banks drives me so nuts.

I don’t particularly care that she’s badly behaved. Plenty of great artists are badly behaved.

I care because she’s so fucking talented.

“212” remains an astonishing piece of writing. To me, the song feels as fresh today as it did when it was released. The rhymes and internal rhymes are off the hook. The alliteration is just nuts. The profanity is dialed to 11. And the song makes me crack up every single time I hear it.

Brother just listen to what this woman could do.

Baby told us in 2011.

I’ma ruin you, cunt.

Shut the fuck up Azealia. But I will say this: you certainly ruined a lot of people along the way.

But nobody ever did more damage to Azealia Banks than Azealia Banks.

Dedication:

For Azealia Banks. Baby, you’re completely out of all reasonable and rational control. And that’s why I love you so very, very much. Baby.

Beavis and Butthead Play Two

Note: A couple of months ago, I wrote my first play about the love of my life, Elodie. It is called Wayfarer. Today, I’m pleased to publish my first TV script.

The script is, of course, a Beavis and Butt-Head episode.

I’ve wanted to do one of these for the longest time, simply because Beavis and Butt-Head are completely fucking hysterical. I know the show is a bit old at this point, and one could argue that the humor is sophomoric. Probably so. But that’s the point.

For anyone who somehow missed them, Beavis and Butt-Head are Mike Judge’s two magnificently stupid teenage metal heads, unleashed on MTV in the early 1990s to watch music videos, insult everything and everything they encountered, misunderstand nearly everything happening around them, and occasionally stumble into something resembling wisdom. They are idiots, but they are very particular idiots. There is a strange precision to their stupidity, and after all these years their friendship remains weirdly endearing.

I love the Beavis and Butt-Head universe, and I plan to write several more of these. Stay tuned.

This first one sends the boys to Chicago for a Cubs doubleheader. There is a girl. There is a box of love letters. There is a Chevy Suburban outfitted for bass fishing. There is George Brett.

Naturally.

Epigraphs:

It’s a great day for a ball game; let’s play two!
— Ernie Banks

Change it Butthead.
— Beavis

Shut the fuck Beavis.
— Butthead

I: Beavis’ Birthday

PING-PONG.

Butt-Head looks toward the front door.

“No.”

“Beavis.”

“Beavis. Someone’s at the door. Go get it.”

“You get it, Butt-Head.”

“Okay, Beavis. Let’s go together.”

The boys get off the couch and approach the door.

Stuart is standing outside in his Winger T-shirt.

“Hey, guys. I heard it was Beavis’s birthday. You guys wanna hang out?”

“No,” Butt-Head says.

He begins to close the door.

“Wait a minute,” Beavis says.

Butt-Head stops.

“What?”

“He does have a point.”

“Really?”

“Yeah. It is my birthday, Butt-Head.”

“Yeah, dumbass. I know.”

Butt-Head pauses.

“But yeah. Happy birthday, Beavis.”

“Thanks, buddy.”

“Now shut up Beavis.”

Stuart is still standing outside.

“So you guys wanna hang out or what?”

“No,” Butt-Head says. “We have important stuff to do.”

“Yeah,” Beavis says. “Important birthday stuff.”

“We’re going to Chicago, Stuart.”

“Really?”

“Yeah. We’re going to see the Cubs tomorrow.”

“It’s a doubleheader,” Beavis says.

Stuart smiles.

“That sounds pretty cool.”

“Shut up, Stuart,” Butt-Head says.

He begins to close the door again.

“Wait,” Beavis says.

“What?”

“You forgot to tell him.”

“Tell him what?”

Beavis lowers his voice.

“Amanda.”

“Oh yeah.”

Stuart looks from Beavis to Butt-Head.

“Who’s Amanda?”

Beavis’s face changes.

“Amanda,” he says reverently.

“She’s a ball girl for the Cubs,” Butt-Head says.

“She’s hot,” Beavis says. “She wants me.”

“Shut the fuck up, Beavis. She doesn’t want you. She wants me.”

“No dude. She wants me. But whatever. Why do you think Butt-head that she wants you.”

“I saw her on TV.”

“You were on TV Butthead?”

“She was on TV, dumbass.”

“Oh yeah. I forget”

Stuart looks confused.

“What”s going on?” said Stewart “What’s a ball girl?”

The boys stare at him.

Butt-Head closes the door.

“Stuart, you need to leave.”


II: Uncle Ken

A Chevy Suburban rolls up outside the house.

It belongs to Beavis’ Uncle Ken, a Chevy dealer from greater Kansas City. The Suburban is outfitted for bass fishing and elk hunting. One of Ken’s major clients is George Brett, the former star of the Kansas City Royals.

Ken parks and gets out.

Beavis and Butt-Head are sitting shirtless in lawn chairs, drinking forties.

Improbably, the boys have found an extension cord and snaked it outside. A small black-and-white television sits between them, playing music videos.

Ken lights a Camel.

“You boys ready for your first ball game?”

“Yeah, Ken,” Butt-Head says. “I guess.”

“Thanks, Uncle Ken,” Beavis says. “You rule.”

“Ok. Let’s go.”

A few drops of rain begin to fall. Beavis picks up the television and puts it under the awning to protect it.

The boys leave the lawn chairs where they are. They climb into the Suburban, still shirtless.

They both sit in the back.

Ken passes them a bag containing sandwiches, chips, oranges and iced tea. Beavis looks inside.

“Thanks, Uncle Ken. You rule.”

Butt-Head lowers his voice.

“Beavis, your uncle may rule, but he also needs to shut the fuck up.”

“Why?”

“There’s not enough food to get us to Chicago.”

“Dumbass. We can stop on the way.”

“Oh yeah.”

Ken butts his cigarette in the front ashtray. The boys throw theirs out the window.

A few minutes later, Butt-Head leans forward.

“Hey, Ken.”

“Yeah?”

“Was this really George Brett’s Suburban?”

“Yeah, Butt-Head. It sure was.”

“Whoa.”

Beavis looks around the interior.

“George Brett played baseball.”

“Yeah, Beavis. Everybody knows that.”

“Oh yeah.”

Butt-Head leans farther toward the front seat.

“Hey, Ken.”

“What?”

His voice drops.

“But did George Brett score in here?”

Ken looks at him in the rearview mirror.

“I don’t know. Probably.”

The boys look at each other.

“Whoa dude”


III: The Motel 6

The rest of the drive passes without incident.

Around seven, Ken pulls into a roadside Motel 6. Beavis looks through the window at the motel.

“Butt-Head.”

“What?”

“It’s a motel.”

“Yeah.”

“We’re gonna score.”

“Oh yeah, Beavis. We’re gonna score all right.”

Ken overhears them from the front seat.

“Boys, if you’re really serious about scoring tonight, there’s a truck stop right over there.”

The boys look over.

“I don’t know for sure,” Ken continues, “but I’ve heard there are a lot of lot lizards around there at night.”

Beavis looks at Butt-Head.

“What the fuck is a lot lizard?”

“Shut up, Beavis. A lot lizard is just another word for a lady of the night.”

“Oh yeah.”

They eat chicken-fried steak at a diner beside the motel. By ten-thirty, Uncle Ken is asleep.

Beavis and Butt-Head are not.

They stand outside their motel room drinking two of Uncle Ken’s beers.

“Beavis.”

“Yeah?”

“You wanna go find those lizards?”

“Yeah. Heh heh.”

They walk across the parking lot toward the truck stop.

There are no lot lizards. There are, however, approximately forty trucks.

Beavis stops beside one.

“Butt-Head.”

“What?”

“Do you think George Brett ever drove a truck?”

“No, dumbass. George Brett played baseball.”

“Oh yeah.”

They continue walking.

After a moment Butt-Head stops.

“Although he did have a Suburban.”

“Yeah.”

They both consider this.

“Maybe he drove a truck.”

“Yeah, dude. Maybe.”

The boys return to the motel around eleven. Ken has his own room. Beavis and Butt-Head share a twin room.

Beavis sits on his bed.

“Butt-Head.”

“What?”

“We got the big game tomorrow.”

“Yeah.”

“Is tonight the night we finally cuddle?”

“Shut up, Beavis. I’m not gonna cuddle with you.”

“Why not?”

“Because you smell, Beavis.”

“Oh yeah.”

Butt-Head points to the bed by the wall.

“I’m sleeping on this one.”

“Fine, Butt-Head.”

“Good night, Beavis.”

“Good night, Butt-Head.”

Beavis turns out his light and prepares to go to sleep. Butt-Head leaves his light on.

He takes out a small box. Inside are twenty Xeroxed letters.

Beavis raises his head.

“What are you doing, Butt-Head?”

“I’m reading my letters to Amanda, dumbass.”

“Oh yeah. I guess you do that every night, huh, Butt-Head?”

“Yeah.”

“Why do you do that, Butt-Head?”

“Come off it, dude. I’m in love with her. What do you think?”

“Oh yeah.”


IV: The Cubs Game

The next morning, the three eat breakfast and continue to Chicago. By noon they are outside Wrigley Field. The boys are wearing their shirts again.

A man is standing over a barbecue grill surrounded by about a dozen people. This is George Brett.

“Ken.”

“George.”

They shake hands.

George looks at Beavis and Butt-Head.

“These the boys?”

“Yep.”

Butt-Head looks at George.

“Hey, George.”

“Hey.”

Beavis looks at the grill.

“Are those hamburgers?”

“Yeah.”

“Can I have one?”

“Sure.”

“Thanks, George. You rule.”

George hands him a hamburger.

Butt-head says “Hey, George.”

“Yeah?”

“Was that really your Suburban?”

“Yeah.”

“Sweet.”

Pause.

“I mean, did you ever score in it?”

George looks at him.

“Probably.”

The boys look at each other.

“Whoa.”


They have box seats on the first base line. Before entering the park, the boys put four beers from the Suburban into their pants. Improbably, this works.

The game starts, and Butt-Head immediately begins looking for Amanda.

“Beavis.”

“What?”

“There she is.”

“Where?”

“Down there, dumbass.”

Butt-Head points toward the field. Amanda is working along the first-base line.

Beavis stares at her.

“Whoa.”

“Yeah.”

“She’s hot.”

“Shut up, Beavis.”

“But she is.”

“I know. That’s why I’m in love with her.”

“Oh yeah.”

The game begins.

For most of the first three innings, neither boy watches it.

Every time Amanda moves, Butt-Head points her out.

“There she is.”

“I know, Butt-Head.”

“There she is again.”

“I know.”

“Dude. She just picked up a ball.”

“Whoa.”

“She rules.”

“Yeah.”

A foul ball comes toward their section.

Both boys stand.

“Whoa!”

The ball lands approximately twenty rows away.

They sit down.

“Baseball sucks,” Butt-Head says.

“Yeah, it does.”

During the seventh-inning stretch, George Brett leans toward Butt-Head.

“Hey, Butt-Head.”

“Yeah, George?”

“If you’re really serious about this Amanda chick, I can get you down there after the game.”

Butt-Head stares at him.

“No way.”

“Sure. I know some people. I can get you into the clubhouse.”

Beavis leans across Butt-Head.

“That would be awesome, George. You rule.”

“I know.”

Butt-Head looks back toward Amanda.

Just before the ninth inning, Beavis leans over and whispers in Butt-Head’s ear.

“Butt-Head.”

“What?”

“I gotta tell you something.”

“What?”

“Well, the thing is, I’ve been watching Amanda all game.”

“Yeah.”

“And I think I’m in love with her too.”

Butt-Head slowly turns toward him.

“Shut the fuck up, Beavis.”

“I’m serious.”

“You can’t be in love with Amanda. I’m in love with Amanda.”

“Yeah, but I’m in love with her too.”

“No, you’re not.”

“Yes, I am.”

“No, Beavis. You just think she’s hot.”

Beavis considers this.

“Yeah.”

A beat.

“But I also love her.”

“Dumbass. She’s mine.”

A few minutes later, Amanda looks toward their section.

“Dude,” Beavis says. “She looked up here.”

“She looked at me, Beavis.”

“She looked kind of to the left.”

“I’m to the left, dumbass.”

“No, I’m to your left.”

Butt-Head looks around.

“Oh yeah.”


V: Meeting Amanda

After the game, George takes Ken and the boys into a small lounge adjoining the clubhouse. Butt-Head is clutching his box of letters.

Beavis, improbably, has gone to the bathroom and washed his face. He is trying to look his best for Amanda.

Amanda enters the lounge. A couple of tables have been set up with drinks and snacks.

“Amanda,” George says. “This is Beavis and Butt-Head.”

“Hi, guys. Thanks for coming to the game today. Did you have a good time?”

Beavis speaks up.

“We had a great time, Amanda. And the best part was seeing you.”

“Shut up, Beavis.”

Butt-Head looks at Amanda.

“But yeah. He’s right. You’re super hot.”

Amanda blushes slightly.

“Why, thank you, guys.”

“Anytime,” Butt-Head says.

They sit down.

George, Ken and the boys crack beers. Amanda has a lime spritzer.

Beavis takes out his cigarettes.

“Butt-Head.”

“What?”

“Can we smoke in here?”

“No, dumbass.”

“Why not?”

Butt-Head looks around.

“I have no idea.”

“Oh yeah.”

Beavis puts his cigarettes away. After a while, George stands.

“Well, I guess it’s time for me to say goodbye.”

“George, do you really have to go?” Ken asks.

“Yeah, Ken. Busy day tomorrow.”

“Well, George, it was great seeing you.”

“Good seeing you too.”

Beavis looks at him.

“Yeah, George. It was great to meet you. You rule.”

Butt-Head nods.

“Yeah, George. You rule.”

“Thanks, guys.”

George Brett leaves. Ken and the boys crack another beer. Amanda is still working on her lime spritzer.

Butt-Head looks at her.

“Hey, Amanda.”

“Yeah?”

“Did you ever get my letters?”

“Yeah, Butt-Head. I saw one or two.”

Beavis leans forward.

“Well, he only wrote like a thousand.”

“Shut up, Beavis. I wrote twenty. I counted.”

Beavis looks at him.

“Butt-Head, you can count?”

“Shut up, Beavis. Yes, I can.”

“I’m just saying.”

Amanda smiles.

“I thought the letters were sweet.”

Butt-Head looks at Beavis.

“See, dumbass.”

He opens the box.

“I brought them.”

Amanda looks inside.

“All twenty?”

“Yeah.”

“Why?”

Butt-Head pauses.

“In case you forgot.”

“Oh.”

Beavis is getting impatient to speak to Amanda.

“Hey, Amanda.”

“Yeah?”

“I washed my face.”

“Nice.”

“Yeah.”

A beat.

“I did that for you.”

“Oh.”

“Yeah.”

Butt-Head looks at him.

“Dumbass.”

Amanda finishes her lime spritzer. She stands and stretches.

“Well, guys, I should probably get going.”

Butt-Head stands immediately.

“Yeah. Me too.”

Beavis stands.

“Yeah. Me too.”

“You guys have a good trip home.”

“Thanks, Amanda,” Beavis says.

“Yeah,” Butt-Head says. “Thanks.”

Amanda waves.

“Bye, guys.”

“Bye, Amanda.”

She leaves.

The boys remain standing. Beavis looks at Butt-Head.

“Did you score?”

“No.”

“Me neither.”

Another beat.

“Damn.”

“Yeah.”

Ken finishes his beer.

“You boys ready?”

“Yeah.”


VI

The cab pulls up outside the Hyatt.

Ken pays the driver. Beavis and Butt-Head climb out.

They walk toward the entrance.

“Hey, Butt-Head.”

“What?”

“I think we came pretty close.”

“No, we didn’t, Beavis.”

“Oh yeah.”

They enter the hotel.

Later, Ken says good night and retires to his room.

Beavis and Butt-Head return to theirs.

Butt-Head points to the bed by the wall.

“Beavis. That’s mine.”

“Yeah, Butt-Head. I know.”

The boys are tired from their long day. They crawl into bed and turn out the lights.

The television remains on.

“Hey, Butt-Head.”

“Yeah, Beavis?”

“We tried our best.”

“Shut up, Beavis.”

A beat.

“But yeah. I guess we did.”

They watch television.

“1979” by the Smashing Pumpkins is playing.

“Beavis.”

“Yeah?”

“Turn it down a little.”

Beavis turns it down a little.

“This song sucks.”

“Yeah.”

Beavis changes the channel.

Peter Gabriel’s “Red Rain” is playing.

Butt-Head looks at the television.

“Beavis.”

“Yeah?”

“Isn’t this that song from the movie?”

“What movie?”

“Say Anything, dumbass. With John Cusack.”

“Oh yeah. He sucks.”

“Of course he sucks, Beavis. But he also rules a little bit.”

Beavis considers this.

“Yeah. Maybe.”

They watch a little longer.

“This song is lame,” Butt-Head says.

“I don’t know. I think it’s kinda sweet.”

Butt-Head turns toward him.

“Shut up, Beavis. This song sucks.”

FIN

For Elodie, My Baby: A Love Poem

Note: I spent about a week with Elodie eight years ago. I fell madly, historically in love. Obviously. She is absolutely stunning and took my breath away. I was beyond gaga and remain so to this day.

She is my one and only baby. Naturally. My darling, my sweetheart, my lover, my queen. My baby. I will never forget anything from that week. I remember the yellow she wore when we met. I remember Pret in the morning, wine before dinner, cigarettes, the park, the bridge, the chapel, the airport, the songs we sent each other, and a great many things that I could just as easily have forgotten.

As if I could ever forget.

Since the years since I met her I have written six essays and a play about her. I know dude, it’s a lot, So what? I am crazy in love with her and always will be. I will soon turn all of my Elodie material into a book. It will be good and I hope you like it. I know I will.

So in anticipation of that about I wrote her a love poem. Here it is:

Epigraphs:

“I didn’t know what I was in for when I set out for that run.”
— Better Oblivion Community Center

“Two suns in the sunset/ Didn’t know my race was run.”
— Pink Floyd, “Two Suns in the Sunset”

“Don’t stand so close to me.”
— The Police

Elodie, baby, I’m massively in love with you
I always have been, and I always will be.

I arrived on a Sunday. We met on Monday
You were wearing yellow, I recall
You touched my arm and said, “I’m an Aries moon too”
And that began my fall.

We walked lightly to the next session
I had no idea what I was in for
We compared charts and we matched
And I knew I was a goner before we even reached the door.

We sat side by side at the table
Elbows and hands touching tight
When your fingers clasped mine, I almost passed out
You were absolutely stunning, a total knockout.

At dusk we went to dinner
It was inside the main hall
There was turkey, there was gravy,
There was cranberry and all.

Before dinner, we drank wine
Red and white as you please
I bought a bottle with some money
I probably pulled out of my sleeve.

You may have been impressed that I had money
But you probably didn’t care
All I could think was, oh my god, this girl—
Look at her hair.

It was colored chestnut brown
And stretched halfway down her back
It was right about this moment
That I had a heart attack.

After dinner you broke out cigarettes
I’d had a dozen in sixteen years
I caved immediately, of course
I was the victim of all fears.

I feared a future without you
That was something I could not stand
When I got back to my room
I knew I’d have to take matters in my hand.

I played “Mistakes Were Made” by the Mendoza Line
I had to call a spade a spade
The title sounded like some kind of sign
I wanted desperately to wank
There, I said it. Bank.

At the time I had only one thought
Running around my brain
I’m massively in love with this girl
And I cannot stop this train.

I wanted to move to London
Would I? We would see
It probably wasn’t the best idea
But baby, you know me.

Tuesday morning we went to Pret
It was just a ten-minute walk
On the way there all we did
Was talk and talk and talk.

We split the cost of Pret
And walked back to the quad
We sat down in the back garden
I was feeling rather odd.

You had a hearty breakfast
You was at her eating peak
After that you mostly stopped
And I became a little worried
You were looking rather weak.

We never went to another session.

I’d been thinking about muses
And I cast you in the role
When you went along with this
I knew I was in a hole.

She talked about her career
She was a photographer, you see
You was good at what you did
But weren’t making enough green.

You’d had a gig in Italy
With some famous movie stars
But your career was on the downslide
You weren’t getting very far.

You had a job photographing hands
You didn’t like it much at all
You had to do it for the money
Through it all my girl stood tall.

Before dinner you said something
That changed the course of the week
“You’re super charming like my father.”
I knew then I was in deep.

I couldn’t have sex with her. Why?
I just couldn’t say
It had to do with what she’d said about her dad
I didn’t fully understand it; I just knew it was bad.

You told me your dark secret
I had one of my own
As I child I’d been abused
Now one helped; I was alone

As a result of my abuse
As a teen I thought I might be gay
But I didn’t really think so
Things turned out another way.

I was crazy about women
Madly in love with girls
But your story changed the conversation
We were in a whole new world.

Four years earlier I’d written an essay for my blog
Called “Reflections: On Coming Through”
Its epigraph came from Dylan
“This one goes out to someone watching out there tonight.
She knows who she is.”

I wanted something like that with you
I wanted you to be my twin
As it happens, I’m a Gemini.
I was ready to put a little skin

In the game
And see what might take place.

I didn’t know where things were going
I just knew I wanted to run the race
To come in first, to break the tape
To be the champion, set the pace.

I turned on back to Elodie
Tried to think of something to say.

I wanted to say, “Baby, let’s get married”
But there was very little chance
So I put the thought to bed
And kept it in my pants.

After dinner we talked like before
Very, very close
After dinner we had wine
Like every night before.

I got a little drunk
So I counted up the score
I thought I was down on the card
By just a point or two.

It was kind of hard to tell.
Everything was just brand new.

I was head over heels for my baby
And when she said she’d leave her guy
My heart went through the ceiling
And flew on way up high.

Friday came without announcement
We walked on back to Pret
After that we went to a park
It was real nice, I bet.

We’d fallen into a pattern
I was not I
She was not she

We were a we.

There was a little bridge in the park
And she walked up to the top
She said, “Baby, this is my bridge”
I said, “Baby, you’re the boss.”

Then she started crying
Just sitting in the sun
I got a little worried
I said, “Babe, what’s up, hon?”

She said, “I’m so confused
I don’t know what to do
I love my fiancé
And I love you too.”

I said, “Yeah, I guess that’s true.”

Then I said, “Look, honey, here’s the deal
I live a million miles away
I want to be with you forever
That’s all I’m gonna say.”

“But darling I live in Japan and you are here
Maybe go back to your fiancé
And see how things go, my dear.”

She said, “Well, yeah, I’ll think about it.
I’ll stay in a hotel tonight.”

I said, “Where?”

She said, “London.”

I said, “That sounds about right.”

And then she said a line
I’ve never forgotten to this day:

“Baby, don’t sit so close to me.”

I said, “Just how far away?”

She said, “Just about an inch.”

I said, “Babes, that’s not too far.”

She said, “Well, that’s all I can handle.
I need you where you are.”

Then she fell into my arms.

The ambulances were blaring
Like a city under attack
I was getting pretty tired
And I half carried her back.

We walked back to the campus
She said she had to talk to Claire Martin
One of the tutors on the course.

I went down to the bookstore
There was a dude there, of course.

I browsed around and played Dylan on my phone,
“Red River Shore”
We sat there all alone.

He did a moment chart
Which I thought was pretty funny.

Melanie Reinhart was sitting nearby
I went and sat beside her
I’m not really sure why.

I picked up a book on musical astrology
It was about famous musicians’ charts
I thought it looked pretty cool.

She said, “Don’t buy that one, baby.
Don’t be a silly fool.”

So I bought another book
And then we both stood up.

Melanie had to move out
So we went up to her room
She had a couple heavy suitcases
So dragged them out of there soon

Then I went to say goodbye to Elodie
And we walked into the chapel
I told her I wanted to know her
When she was an old woman.

She said I was sweet
This made me smile.

I said, “Baby, you can’t be beat.”

And we sat there for a while.

Then we kissed goodbye
And I stepped out of the gate
I had to get some lunch
I was running rather late.

As I walked to my hotel
I was feeling pretty weird
I only had a little stubble
But I had to itch my beard.

At the restaurant I got bouillabaisse
And a lovely beer as well.
I texted Elodie Jason Molina’s “Leave the City.”

And she cried.

I said, “Baby, what the hell
Are we gonna do about our relationship?
Who are we gonna be?”

She said, “Baby, I have no idea
We’ll just have to wait and see.”

I said, “Yeah, I guess that’s right
There’s nothing we can do
I’ll see you when I see you, baby
I love you. I do.”

She said, “I love you too.”

I sent a couple more songs
And I’m happy to report
That after the conference
We still got along.

After lunch I was super tired
So I went to get some sleep
I knew once my head hit the pillow
I would sleep real deep.

I woke up the next morning
Around four-thirty or so
My wife had to catch a bus
England isn’t the safest, you know.

So we stood there on the corner
And she climbed onto the bus
In a different kind of way
I didn’t know what we’d do about us.

Then I hugged her quickly
And we said our goodbyes
I took the short walk home
Under the English sky.

I jumped into the shower
I was glad I was alone
I had a cab coming at eight
Pretty soon I’d be going home.

I packed up my things
I didn’t know what the day might bring
In the cab the driver played the radio
I could barely hear a thing.

There was a story about the poor
And how there was very little housing
But I couldn’t really dwell on it
That was somebody else’s deal.

I had to get to the airport
To make my final appeal.

On the plane I played Pink Floyd’s
“Two Suns in the Sunset”
And then I cried a bit.

I thought about my son, of course
I swallowed
Took the hit.

I read Anthony Powell on my Kindle
And he kind of messed me up.
So I asked for peanuts and some wine
In a little paper cup.

I had the wine and then another.
And I started to relax.
I understood then for sure
That I’d have to pay a heavy tax.

I knew my marriage was over
And my career probably as well
It was only a matter of time
Time will always tell.

I landed in Osaka
Got a room across the street
It was too far to Kyoto
Sometimes nearness can’t be beat.

I texted Elodie from the hotel, of course
It was just around nine her time
She said she was working in the park
On someone else’s dime.

I said, “Baby, that sounds awesome.
I wish I was there with you.”

She said, “Me too, baby,
But there’s nothing we can do.”

For the next few weeks
We texted, and called most every day
Then she had a dream and talked to her therapist
And she mostly went away.

The dream took place in the woods
There was a fire of some kind
She said that I was there with her
I began to fall behind.

She said “My therapist says I can’t talk to you.”
I said “Baby don’t say it’s true”
She said “Yeah, I don’t yet know”
I said “Babe it’s up to you.”

After that we sent some letters
And some texts just to chat
I wrote her in March 2019
And that was pretty much that.

I was the last one to write
That was about seven years ago
I figured the door was still open
So I emailed her three weeks ago.

And whether or not she’s read it,
So far it hasn’t been a no.

Email doesn’t have read receipts,
So I don’t know if she saw it.
I’m betting that she did.
So I’ll just have to wait a bit.

She’ll answer or she won’t.
It’s pretty much all the same to me.
Our relationship was years ago.
It’s all history, you see.

But I know I’ll always love her.
That’ll always be a fact.
And I still think sometimes
About going back.

Going back to London
Trying to find her one fine day.
And if I actually found her,
I don’t know what I would say.

I guess I’d say, “Hey, baby,
Do you wanna get some pancakes,
Some coffee,
And hang out?”

She’d say yes or she’d say no.
At least I would find out.

Then I’d go back to Kyoto,
Or maybe Thailand just for kicks.
Maybe move on down to Thailand,
Hit the beach, seek some bliss.

Thinking about Elodie
Has brought up old memories,
And I really need to chill.

Smoke some weed and drink some rum
Or I’m gonna get a little ill.

And sure, I’m ill
I’ve been lovesick for Elodie
Since the first day I ran saw her
In a seminar room on Monday.

I spent about a week with her
And I’ll never forget a thing
That we said or did together
I still want her to wear my ring.

I know that’s kinda doubtful,
But a guy can dream a dream,
And God knows that I have to,
After all the things I’ve seen.

Elodie, baby, give me a call.
Honey, baby, don’t forget me.

I’ll never forget you at all.

Dedication:

For Elodie, my baby. I cannot describe how much I love you, baby. I miss you so much. Baby.

Did My Grandfather Tom Thomas Kill a Man in Japan in 1941?

Note: This essay is based on a story my grandfather told me when I was thirteen years old, my surviving memories of that story thirty-eight years later, and the limited historical context I have so far been able to establish. Throughout, I have tried to distinguish between what I know, what I remember, what I merely suspect, and what may simply have become family legend.

That distinction matters. Earlier today I acquired Tom’s complete Naval records, which have filled in a number of gaps in the chronology.

In addition, when I called my mother she said that she thought the biology of TomThomas that I wrote in 1988 was still in a box somewhere. The original cassette tapes are almost certainly gone.

If the biography does surface, we will know more and I will update this piece.

Epigraphs:

“The past is a foreign country: they do things differently there.”
—L. P. Hartley, The Go-Between

It’s been a long time, mama, since I heard you call my name
Ah, been a long time since I heard you call my name
I got to see my Colorado girl again
—Townes Van Zandt, “Colorado Girl”

I. Introduction

My grandfather Tom Thomas once told me that he killed a man in Japan just before World War II.

I was thirteen years old when he told me this. I believed him. Thirty-eight years later, I am no longer entirely sure. I have been wanting to write this story for many years. The story has remained lodged somewhere between family history, childhood memory, and legend: an extraordinary story told to a boy by his grandfather and preserved, imperfectly, across nearly four decades.

Today I would like to know what actually happened.

II. The Family Autobiography

In the spring of 1988, when I was in eighth grade at St. George’s School outside Spokane, Washington, my social studies teacher, Laura Pierce, assigned us a family autobiography project.

Laura was a nice woman and a good social studies teacher. I was friends with her son Ben, who was a year or two older than I was. The Pierces lived in a modest suburban home about twelve minutes north of St. George’s. My parents, my brothers, and I lived a little farther north in Wayside, Washington, which in those days was far out in the country.

When my brothers and I were younger, we sometimes went to the Pierces’ neighborhood for Halloween. This was in the early to mid 1980s, and it was the era of panic about tainted candy on Halloween. My feeling today is that this panic was largely, if not entirely, overblown. Nevertheless, we checked our candy haul for razors carefully. We never found any.

Wayside was not much good for trick-or-treating unless you were prepared to hike half a mile between houses. The Pierces had neighbors.

These are some memories of my time. I mention them here because I am trying to establish what I know, what I remember, and what I merely think I remember.

I believe Laura assigned the autobiography project sometime around March 1988. I cannot today establish this date with any degree of certainty. The project took some time, and we finished eighth grade in early June. Four years later, twenty-eight of us graduated from St. George’s together, so I guess my eighth-grade class would have been roughly the same size.

For my project, I chose to interview my paternal grandfather, Tom Thomas. I sent him a list of questions, and he kindly sent back about half a dozen tapes. On the tapes he talked about his whole life, with a focus on his time in World War II. Tom was a career Navy man who also served in the Korean War. I believe he served valiantly, and he told me that he shot in the leg on one of the islands off of Guam; I believe in 1944. He leg healed and he went on to a successful real estate career in Healdsberg CA, just outside of Napa Valley. I believe that he did quite well for himself, and by the time I was little he was already retired. Gin was a lifelong housewife. I was born in 1974, so my first memories of him and his wife Virginia (Gin) would have been around 1977.

My parents Ross and Claudia and my younger brother Mike visited Tom and Gin almost every summer until the late 1980s. We called them Moo Grandpa and Moo Nana because they owned cows. My mother’s parents Bill and Barbara were Regular Grandpa and Regular Nana as they lived in the city of Santa Clara.

We would usually start just three or four days with Tom and Gin, and often a week or two with Bill and Barbara. At this remove, I am not exactly sure why this was, however it may have been the fact that Tom was not, at least of the time, the nicest man. Tom died in 2001 and Gin in 1996, so RIP to two real ones. There is no avoiding the fact, however, that Tom had a bit of a mean streak.

Looking back today, I fully understand why this was. He grew up in rural Colorado in the early part of the 20th century. He was born in 1916 to a homesteader family, and he told me for the biography that his own father was a drinker and had a mean streak too. I believed this and still do. Tom and Gin liked to drink too, and I remember every evening at 5 PM sharp that would make martinis in what I then saw as a pretty swank cocktail set.

Tom would have maybe two martinis before dinner as I recall, while Gin would usually have just one. He probably had a few more drinks with dinner. I don’t ever remember him drinking beer or wine, so my guess is he stuck with martinis. I myself have inherited a taste for alcohol, and today I would describe myself as a managed drinker. I have also had periods of my life where I drank more, however that is a subject for another day.

In addition to having a bit of a mean streak, Tom could also be very generous. My parents bought a house in the country somewhere north of Spokane, WA in I believe 1980 or 1981 and it turned out to be a bit of a con job as the house had no water. This was a problem because everyone needs water, and also because my parents had zero money at the time. My dad was just starting his teacher career at St. George’s School in Spokane, one of the two most prestigious private school in the city. Prestigious though it may have been, it did not pay well/ Spokane only had about a quarter of million people at that time. It probably has more today, but I am note sure as I have not been back for 25 years. I never really cared for Spokane, however I do have fond memories overall of growing up there.

In any case, my folks needed to get out of the house with no water pronto and Tom kindly paid the entire down payment on a new house, in Wayside. Wayside was also north of Spokane, however it was much closer to school, just about a 17 minute drive. I can state this with certainly because we made the drive every school day for the 13 years I attended St. George’s.

III. The Yokohama Incident

As mentioned above, Tom Thomas served in the United States Navy for about 20 years. At one point in the late 1930s, he said, he was a military policeman. At this juncture I am not going to convert rather vague memories into historical fact just to make the story cohere. What follows is the story as I remember Tom telling it to me.

He told me that he was stationed in Japan sometime in the very 1930’s and perhaps into the early 1940’s. As I will go into in more detail below, when I ran this story by my good friend Sergio Mandiola a few weeks ago he said a US Navy man would absolutely not have been stationed in Japan in 1941 at all. I in addition he said that it was also quite unlikely to have happened in 1940. He went on to say that if indeed such a took place, it may have occurred in 1938 or 1939 when US Japan relations were still at least on reasonably good terms.

My present recollection places him in Yokohama, although I do not want to claim more precision than the available evidence permits. For many years I have remembered the incident as occurring in 1941—more specifically around October 1941.

This date may be wrong. It is almost certainly is.

The location may be wrong, although I am confident that Tom did tell me that he stationed in Yokohama at some point.

In any case, Tom told me was that he was off duty one night and drinking in a bar with some of his fellow servicemen somewhere in Yokohama. A Japanese man came into the establishment extremely drunk and began causing trouble.

Tom intervened, and the man left the bar, only to come back several hours later with a knife. By this point, Tom said, it was very late, and we can assume that everybody had been drinking. As Tom exited the bar, the man came at him with the knife and Tom defended himself. Tom was not a tall man, however he was quite well built. Things went his way, and he tossed the man off a small cliff his death.

Again, I want to be careful here. I don’t remember whether Tom said that his position as a military policeman formally obligated him to intervene, whether he simply felt some responsibility for maintaining order, or whether he was a young sailor who decided that somebody needed to throw a drunk out of a bar and that somebody was going to be him.

I want to make this distinction clear because thirty-eight years is a long time and memory has a habit of polishing its own edges.

I do not merely remember Tom inferring that the man died. I remember my he telling me that he did.

IV. Aftermath

According to Tom, this was not the end of the matter.

He told me that the killing caused some degree of difficulty between the United States and Japan. This is understandable, as the two countries were, at the time, on anything but good terms. My recollection is that he said the whole thing became a minor diplomatic incident.

I also remember Tom telling me that he was imprisoned afterward, and my recollection was that he spent several months in a Navy prison or brig in Japan.

That is one of the details I now strongly suspect to be wrong.

Perhaps Tom said he was imprisoned somewhere else. Perhaps thirteen-year-old me misunderstood. Perhaps I have unconsciously moved the prison back to Japan in order to make the story narratively tidy.

And this is where my friend Mandiola enters the story.

V. Mandiola Objects

As mentioned above, when I told Mandiola the story some he told me “dude no way.”

He didn’t buy the date.

Mandiola is one of the smartest people I know and knows more history than anyone I have ever met. When I told him that my recollection placed Tom in Yokohama in October 1941, his reaction was immediate.

No way in hell.

Mandiola did not necessarily doubt that some version of the incident could have happened. His objection was to my chronology and to some of the surrounding circumstances. He thought an earlier date—perhaps 1938 or 1939—was considerably more plausible.

I agreed.

After all, it would be foolish of me to regard a date remembered from a recording in 1988 as incontrovertible evidence. But I also don’t want to correct the record before I have investigated it fully. For now, therefore, I am leaving 1941 on the board.

VI. Why the Date Matters

The relationship between the United States and Japan changed significantly during the years immediately preceding the Pacific War.

Japan seized Manchuria in 1931 and established the puppet state of Manchukuo the following year. Full-scale war between Japan and China erupted in 1937. The United States and other Western powers increasingly objected to Japanese expansion in China, and Washington gradually moved from diplomatic opposition toward economic pressure.

The confrontation intensified considerably in 1940 and 1941.

Japan joined Germany and Italy in the Tripartite Pact in September 1940. The United States began to restrict exports of strategically important materials to Japan while increasing support for China. Japanese expansion into French Indochina further worsened relations. In July 1941, after Japan moved into southern French Indochina, the Roosevelt administration froze Japanese assets in the United States. In practice, the resulting restrictions threatened Japan’s access to the imported oil upon which both its economy and military depended. Japan consequently faced a severe strategic problem.

However it would be misleading to reduce the road to Pearl Harbor to a simple story in which the United States surrounded an innocent Japan and cut off its oil, leaving Japan no alternative but war. The economic pressure did not emerge from nowhere. It developed in response to years of Japanese military expansion in Asia. Japanese leaders nevertheless increasingly perceived themselves as being strategically contained and economically strangled.

Negotiations between Washington and Tokyo continued through 1941 even as both sides prepared for the possibility of war.

Then, on December 7, 1941, Japan bombed Pearl Harbor.

This is why the date in my grandfather’s story matters so much.

1938 is not 1941. Neither is 1939.

An altercation involving an American serviceman and a Japanese civilian would have existed within a substantially different political environment depending on in which year it occurred. so the question becomes:

Was Tom Thomas actually in Japan when he said this happened?

This ought to be knowable.

VII. Opening the Case

Mandiola suggested that if I really wanted to investigate the story, I should look for American records from the time.

He mentioned the U.S. Chamber of Commerce. Having looked into the matter further, I suspect the National Archives and military records will be more useful.

This is where the story stops being merely a family anecdote and becomes an investigation. First, I would to get my hands on Tom’s Navy service record.

I want to know when he enlisted, where he was stationed, his rank in the Navy, the ships or shore posts to which he was assigned, and—most importantly—where he was during the years immediately before Pearl Harbor.

If Tom was sitting in San Diego throughout 1938, 1939, 1940, and 1941, we then have a problem.

If, on the other hand, he appears in naval records connected to Japan or Yokohama during this period, we have something considerably more interesting.

Then there is the alleged imprisonment.

If in fact Tom killed a Japanese civilian, was arrested or detained, and spent some time in military confinement, I would expect at least the possibility of a documentary trail. There may be disciplinary records. There may be court-martial material. There may be official correspondence of some kind. And with luck I may be able to track it down.

And then there are the Japanese records.

I have a distinct recollection that Tom told me the incident made the Japanese papers. I am less certain of this memory than I am of the killing itself. However if a Japanese newspaper did report the death of a Japanese man following an altercation with an American sailor, this would, at a minimum, have been news.

It is even possible that the still exists to be diplomatic correspondence if Tom is right that the affair caused some degree of friction between the two countries.

Or there could be no records of any kind.

This would tell us something too.

VIII. Memory Is Not an Archive

Here are the facts that I want to establish:

i) What actually happened in Japan nearly ninety years ago?

ii) How accurate is Tom’s version of events?

iii) In turn, how accurate are my own recollections of what he told in 1988?

Memory does not operate like a filing cabinet. We lose things. We combine them. We unconsciously embellish chronology. Details that once carried periods eventually acquire question marks.

Sometimes families do this collectively. An event becomes an anecdote. An anecdote becomes a story. The story gets told often enough that eventually nobody remembers which pieces belonged to the event and which pieces belonged to the telling.

Maybe Tom killed a man. Maybe he fought a man who survived and the story grew in telling over the years. Maybe the basic event happened but I have misremembered some of the facts. Maybe my grandfather was bullshitting his grandson with a magnificent sailor’s yarn.

At thirteen, none of these possibilities occurred to me. My grandfather told me something. I wrote it down.

At fifty-two, I simply want more evidence.

IX. Why Now?

This raises the question: Why am I doing this now?

I originally went to graduate school to study history. In January 1999, I enrolled at Northern Arizona University (NAU) intending to complete a master’s degree in Asian history within two years.

I almost made it.

I wrote approximately twenty-five pages of the first chapter of my thesis, which I still have in print form, and accumulated perhaps another hundred pages of notes in various stages of usefulness. For somewhat complex reasons that I have discussed elsewhere, I never finished the thesis.

I left NAU in August of 2001.

Within two months, I was back in my wife’s hometown of Kumamoto, Japan, teaching English to preschoolers. Not long afterward I joined Ritsumeikan Uji Senior High School in South Kyoto. I have now worked there for twenty-four years.

Teaching is a good profession. It has been my profession for a very long time however, and I am past ready to do something else.

I have written blogs with varying degrees of regularity since 2008, and now write almost daily for my current blog the Kyoto Kibbitzer. I think I am a good writer. At a minimum, I have considerable range. And I am trying, with more seriousness than before, to professionalize my writing.

Writing is, unfortunately, a challenging way to make a living.

J.K. Rowling and Dan Brown have made fortunes from it. Although I consider myself a better writer than both of these people, I have zero expectation of reaching anything remotely resembling their fame or fortune.

I would settle for quite a bit less.

If I can patch together a modest living through writing, online tutoring, and perhaps another job or two here and there, I can imagine selling my house and moving somewhere cheaper. Perhaps downtown Kyoto. Perhaps Osaka.

Increasingly, however, I find myself thinking about Thailand.

Bangkok is too large, crowded, and noisy for me. Pattaya, on the other hand, attracts me, and I am hoping to visit there soon if my financial circumstances cooperate. If I do manage to get there this summer, I will assess its suitability as a place to live.

All of this may seem some ways away from a Japanese bar in the years just prior to World War II.

To me it isn’t.

I am trying to decide what kind of writer I want to be during the next part of my life. I write about music. I write fiction. I am working on my memoirs. I write about education, sex, dreams, politics, bars, cities, relationships, and whatever else happens to interest me on a particular day.

I would also like to return to history, at to least modest extent.

And if I am serious about becoming a little of an historian again, then I owe this story more than the version I have been carrying around since I was thirteen.

I owe Tom more than that too.

X. The Open Case

I am going to try to find out what happened in 1941, or whenever it happened, if anything happened at all.

This mother I asked my mother if she still has the family biography. She said she thought in was a box somewhere, and she would try to find it soon.

Then, when I have the time, I will send an email to the National Archives.

If I can establish Tom’s military assignments, I can establish whether his story is even plausible. If I can establish this, I can begin narrowing down the dates. If I can pin point the date and location with reasonably accuracy, I may be able to consult Japanese newspaper archives from the time. If Tom really was imprisoned in Japan, which I now regard as unlikely, there may also a disciplinary record somewhere.

And perhaps, somewhere deep in an archive in Japan or the United States, there is another man’s name.

This possibility changes the story.

For nearly forty years the man Tom said he killed that night in Yokohama has existed in my mind only a legend

If he existed, he was more than that.

He had a name. He probably had a family. He had a life that began long before he allegedly walked into a bar drunk one night and encountered a young American sailor named Tom Thomas.

I would like to know who he was.

Maybe the records will vindicate my grandfather’s story.

Maybe they won’t.

My suspicion is that the truth will be more interesting. That perhaps somewhere beneath eighty-five years of history, forty years of storytelling, and thirty-eight years of my own imperfect memory, there is an actual event that gradually became the story I know of today.

But that’s only my suspicion.

For now, all I have is a deceased grandfather, an eighth-grade autobiography for 1988 that I hope to acquire soon, and an imperfect memory. And in any case, I have one hell of a family story.

That is enough to begin with.

Nearly ninety years after whatever happened happened, I am now determined to get to the bottom of it.

Stay tuned.

Dedication:

For my grandfather, Tom Thomas. Although we had our ups and downs over the years, I still love you very much grandpa.

My Craig Finn Inspired Song “Problematic to the Max”

Note: Craig Finn is my favorite songwriter, and this song is directly inspired by him. This is my first time to write a Finn style song and I have done my best. I am not trying to imitate Finn exactly, or pretend that I can write exactly as he does. What I have tried to borrow from him is something more essential: his attention to people on the edges of the night, his gift for compressed narrative, his affection for damaged characters, his understanding that bars and diners contain entire moral universes, and above all his ability to make a song feel simultaneously funny, sad, dangerous, and deeply humane. If this song is any good it is because of Mr. Finn.

She came stepping out the club in her heels
She was problematic to the max
She had someone else’s cigarettes
And someone else’s jacket on her back
She said, “Don’t start asking questions
You ain’t gonna like the facts”
Then she laughed and checked her lipstick
In the window of a Cadillac

There were boys outside the pizza place
Trying hard to look relaxed
There were girls discussing exes
And all the ways they’d get them back
There was someone crying by the cash machine
Someone calling for a cab
She said, “Everyone wants forgiveness
No one wants to give it back”

And I said:

Baby, we can leave right now
Let’s just stop playing games
There’s a place that pours till morning
And the barkeep knows my name

We’ll stumble out at sunrise
See the bums shaking their cans
With the smoke still in our eyes
And the popo in their vans

She said she’d recently been seeing
A guy who worked in stocks
At first it felt quite freeing
But she was looking at the clock
He kept talking ’bout the markets
While she stared into her drink
She said, “A man can make a million
And still not know a fuckin’ thing”

We walked east along the river
Past the churches and the cranes
She said everybody loves you
Til they learn your middle name
Then she took my hand and said
Like she’d suddenly recalled
Though we were very good in bed
We weren’t having fun at all

And she said:

Honey, don’t get sentimental
That’s how everyone gets hurt
First you say you understand me
Then you start discussing worth

I’ve been good and I’ve been awful
Mostly somewhere in between
And I’m sick of getting judged
By the folks behind their screens

At four we found a diner
With the chairs turned upside down
The waitress poured us coffee
While I tried not to check her out
She said, “You two look exhausted”
We said, “That’s probably correct”
Then my friend began explaining
Why exhaustion gets respect

She said:


No one trusts in happy people
They assume they’ve missed a trick
Everything was going fine
Til she said “baby you’re a prick”

So I keep a couple bruises
And some stories in the back
Just in case somebody doubts me
When I say it’s been like that

The morning started leaking
Through the alleys by the tracks
She had kicked away her heels
And slipped into her slingbacks
There were punters there were pigeons
There were handbills in the street
There were people dreading Sunday
There were people starting weeks

At the corner she got quiet
Then she kissed me on the cheek
Said, “Don’t make this into something
When it’s barely been a week”
Then she climbed into a taxi
And she never once looked back

She came stepping out the club in her heels.
She was problematic to the max

The Days and Nights of My 50s, Part V. 7/27/25-8/3/25. Eight Transition Days: Money, Women, My House Fails To Sell, and I Wave My Dick All Around Japan, Apparently.

Epigraphs:

Baka. You are waving your dick all around Japan. What am I going to do with you?

Litz

I wanna know girls, don’t wanna know men.

Superchunk

Roll another number for the road/ I feel able to get under any road.

Neil Young

Something’s going to happen. Something always does.

Billions

Author’s Note:

I recently fell eight days behind on this series and briefly considered abandoning the missing week altogether. Reconstructing every hour would have been impossible, and pretending otherwise would have produced eight dutiful but lifeless entries. So I have produced something different: one long, thematic account of the money, marriage, women, music, writing, travel plans, ordinary routines, and general weirdness that comes with it all.

What surprised me during the edit was that the piece had a story after all. Much of the week was spent trying to persuade banks, apps, lenders, and machines that I existed. They rejected my address, my identification, my telephone number, and at one memorable point the year 1974 altogether. Elsewhere the people who matter most came through. Sachie called me by my old name. Zach understood the central point of my marriage essay. Readers found an eight-year-old piece buried in the archive. And my son stayed on the telephone with me for nearly two hours and called me Papa. I cried The chronology fell apart. Life did not.

===== =====

I fell behind.

There is no good explanation for this. I did not deliberately fracture chronology in order to interrogate the instability of memory. I was not experimenting with form. I simply stopped keeping up. My last completed diary entry was July 26, and by the time I looked up again it was August 3. Eight days had passed, the material had multiplied, and reconstructing every morning, afternoon, evening, cigarette, loan application, woman, walk, song, meal, nap, argument, and minor technological catastrophe in order would have required another eight days.

So this is the compressed version.

Eight days. Several dozen financial institutions. More women than I can count. One marriage at its end, one house waiting to be sold, one son suddenly talking to me for nearly two hours, four packs of Camels briefly representing unimaginable wealth, and a song essay from eight years ago inexplicably climbing above Wikipedia on Google.

Chronology can take the week off.

I. Money

Money has dominated my days of late.

There are plenty of other stories—love, marriage, sex, music, family, writing—but every one of them existed beneath the same low-pressure front. Could I get downtown? Could I get back? Could I buy cigarettes? Could I put money on an my ICOCA card? Could I book a hotel, board a train, eat something other than eggs and pasta, or convert one of the many theoretical financial instruments surrounding me into actual currency?

The strange thing was that money always seemed to be coming.

A card was coming. A transfer was coming. A lender was reviewing. A bank was processing. An email was imminent. A cheque was in transit. A customer-information update had been accepted. A human being somewhere was allegedly examining at my file.

Money was everywhere except in my pocket.

I applied to ACOM, AIFUL, Seven Bank, Promise, Mobit, Resona, Sony, PayPay, Prestia, Rakuten, SBI, and enough regional banks to constitute a tour of Japan. Chiba. Fukuoka. Nagoya. Kyoto. Every fucking prefecture appeared to have a bank and every bank appeared to have designed its website specifically not to work

The applications followed a familiar pattern. First came the promise of speed.

Approval today.

Simple online procedure.

Borrow whenever you need it.

Then came the reality.

Photograph your residence card. No, not like that. Turn it slightly. Move closer. Dude move farther away. Fuck you and fuck your face.

Use better lighting. Take a selfie. Turn your head. Hold up a handwritten note. Hold up the ID beside your face. Enter the address in full-width katakana. Enter the address in half-width numbers, whatever that means. Enter your employer’s telephone number. Not that telephone number. Another. Your birthday is invalid. 1974 does not exist. Yeah right. 1974 existed because I had personally was there. Fuck you again my friend. Fuck your face while you are at it.

Yeah. OK.

At ACOM I eventually reached a human being, which seemed promising until she informed me, with a little apologetic shrug, that the AI had said no. She could not explain why. The AI had spoken. The oracle had issued its judgment. Go home. Take a shower. God knows at this point I needed one

Lake allowed me to progress through the most Byzantine application of all time before deciding I was apparently the wrong category of foreign resident. Whatever. PayPay refused to read my ID card. Rakuten could not process Ritsumeikan’s address and telephone number despite twenty attempts. JCB rejected my birthday. Really dude? Yeah really. Kyoto Bank briefly sent me into a branch-selection circle in which code 142 somehow transformed into code 566. And back. And back again. I entered 142 again. The system contemplated this information and returned me to the beginning. Fuck.

The great Acropolis of Japanese consumer finance has many staircases and no entrance. It’s like the Winchester House of something.

The worst moment came with a lender that appeared near the top of the Google search results claimed that 1 million yen already been deposited into my online wallet. 1 million yen. The wallet showed a magnificent balance. Cold hard digital cash. All I had to do was transfer it to Kyoto Bank. Great. Fucking finally.

Then came the request. Pay ten percent of the loan first. There it was.

The scam unveiled itself with all the elegance of a man opening his raincoat on a subway platform. They had invented the loan, invented the wallet, invented the balance, and now wanted real money to release the imaginary money. I closed the window. There would be no ten percent. There would be no transfer. The million yen would continue its rich fictional life without me.

Meanwhile, actual life became an exercise in microscopic accounting.

A handful of coins. A few hundred yen on one card. Perhaps twenty or thirty dollars on another.

Enough for one round trip downtown, maybe. Four packs of Camel Blues. A dozen eggs and coffee. For a few hours I was rich.

Then I was broke again.

I. My House

Behind the immediate cash crisis sat the larger financial fact of my house.

My wide and I bought it in 2007 for roughly $380,000 after she negotiated it down from about $400,000. Good work by her. The house is around 110 years old, in Sakyo Ward, two minutes from the beautiful Kamogawa river, near houses worth millions, supermarkets, restaurants, a mall, a police station, and all the ordinary conveniences that make a neighborhood viable.

It also shares a structural exterior wall with the neighboring house. This is the problem.

The wall is concrete, substantial, and old. The two houses appear to have been constructed together, and the neighbor is in his mid-nineties, assuming he is still alive. I have not seen him or his wife in years. His adult son, who once came regularly with groceries and dealt with the practical business of keeping two elderly people alive in an old house, has also disappeared from view.

The neighboring garden had gone wild. Ours is hardly Versailles, but theirs looks as though nature had filed a successful adverse-possession claim.

Could a developer demolish our house without demolishing theirs? Probably. Kyoto carpenters have dealt with harder problems than an attached wall. Would the wall reduce the number of buyers? Almost certainly. Would it make the property impossible to sell? I don’t think so. The location is good. The land is desirable. Experienced builders know how to solve structural problems when the numbers make sense.

Still, the wall remains, silent, forbidding, concrete, holding up both houses and complicating our futures.

I began to do the math.

Sell for $380,000. Lose perhaps $60,000 to commissions, taxes, and associated costs. Net $320,000. Split evenly: $160,000 each.

Except it is not that simple.

I have paid the entire mortgage since 2007. I have paid the utilities, the internet, three cell-phone bills over twenty years, appliances, most of the groceries, much of Daisy’s food, and well over $400,000 for Hugh’s education from kindergarten through university. The house is in my name.

I could build a case in my head. I did build a case. I built it for hours.

But marriage is not a civil trial conducted by a man lying naked in bed with green tea, four packs of Camels, and a calculator.

A few weeks, after thinking about it for a while, I told Sachie I would give her half. She said she wanted nothing. I suggested $50,000, and she agreed.

This was the last conversation on the matter, about three weeks ago.

The ethical question is not whether I can prove that I have paid more. I have. The question is what I want the final act of a twenty-seven year marriage to look like.

For now, the answer is simple: honor our most recent agreement. Figure out what the house is actually worth. Sell the house. Divide whatever money comes in money.

There will be time enough to decide when the wall, the buyer, the agent, the taxes, and the actual sale price stop being theoretical and finally become real.

II. Sachie, Marriage, and the End of an Era

The financial accounting and the emotional accounting were different books.

This became clear while I was writing On Meeting My Wife Sachie, the first piece of a planned longer series about the marriage and divorce. I wanted to begin at the beginning because the end may be overshadow everything that came before it. Sachie is not merely the woman leaving our house, refusing the proceeds from the sale, arguing over our garden, or moving back toward her parents.

She was once a young woman whom I loved. I was once a young man she loved. The line Zach later singled out was: This essay belongs to two young people on the cusp of life. That is the heart of it.

And now she is my ex-wife, a fact I find both funny and sad in equal measure.

Before resentment, accounting, separation, and twenty-five years of accumulated evidence for the prosecution, there were two people at the beginning of something. I want to give those people their due.

During these last eight days, we argued. We negotiated. She gave me ¥3,000, then another ¥3,000. She bought coffee filters but not bread or butter. She handled a cheque in a way I initially found incomprehensibly complex. I cursed, breathed in, calmed down. I listened to her explanation, and realized she was not intentionally trying to be difficult. She is just outta control.

Sachie is preparing to leave for Kumamoto in two weeks. Boxes accumulate. The house begins to feel less like a home than a staging area. We discuss bills, the garden, Daisy, our son, money owed, money promised, and who would keep which possessions.

There are moments of old intimacy in the language. I recently started calling her Sachan again. She calls me Machan. For just a minute we are back in 1997. It feels great. But it will not last.

Last week there was another earthquake in Kumamoto where my wife’s parents live. They were safe after the earthquake, and when I heard I felt a rush of relief. Her father Tetsuo is ninety-one and her mother Kazuko is ninety. I have known them for decades. Whatever has happened between Sachie and me, Kazuko still loves me. I love her too.

And I will probably never see her again. This is sad. Divorce does not merely separate two people. It closes a a whole chapter.

There are roads you no longer travel, houses you no longer own, nicknames you no longer use, relatives who become former relatives. Sometimes nothing dramatic happens. A door closes quietly, and one day you realize the entire geography of your life is now somewhere else

Still, Sachie and I talk. We make practical arrangements. We lend each other small amounts of money. We love the same child and the same dog. We can, at the best of times anyway, remind ourselves that neither of us is the villain of the piece.

The villain is time. As usual.

III. Hugh

Yesterday Hugh called. We spoke for an hour and fifty-three minutes.

This was almost certainly the longest telephone conversation we had ever had, and perhaps the longest uninterrupted conversation of its kind in years. Usually Hugh has ten minutes, twenty if I am lucky. He juggles work, plans, friends, screens, trains, a life. I am busy too. This time he had nearly two hours because he had just quit his soccer influencer job

On the phone he told me that was done.

He still likes football. He just does not want to spend sixteen hours a day editing football videos anymore. He had reached the same point with editing that I have reached with teaching: not dislike exactly, more like completion. That chapter has delivered everything it was going to deliver. It is now closed.

He had been doing most of the work while someone else took took a higher percentage. He agreed to this. Tolerated it for a while. But no more.

I told him I understood. And I did.

He is already freelancing, DJing trip-hop and electronic music, building something that is actually his. He is planning to move to Tokyo and eventually to buy a house. He casually told me he has saved about $50,000.

Fifty thousand dollars. At twenty-two. I have spent the last week trying to extract enough money from the Japanese banking system to buy a few packs of cigarettes and get downtown. My son had quietly assembled a down payment. I am so damn proud of him.

He told me he would come home tomorrow to pick up Daisy and keep her for a month or so while Sachie gets settled in Kumamoto. Later he told me he couldn’t come after all.

Typical. Hugh is a wonderful young man but he cannot keep a schedule for the life of him. Oh well. That’s just Hugh I guess.

Before that he said something that broke me open. He said in the next month he would bring Daisy back by a few times.

Just a day trip. A small kindness. An adult son anticipating the emotional needs of his father without being asked.

“You’re the man,” I told him.

“I love you, Papa,” he said.

“I love you too.”

There it was. The emotional center of the week.

Not the loans. Not Pattaya. Not the women, the house, Google, or the endless packs of cigarettes.

A son on the phone. One call. Two hours. My only son. Fuck.

We talked about Wise. I have an account somewhere but can not remember the password, naturally. He said he would refer me, earn a small bonus, and help me set up another path for my money.

We talked as two adults. Feels great.

I remember the boy, of course. Fathers always do. But the person on the phone is not a boy. He is a young a man, making decisions, leaving a job he no longer wants to do, moving to Tokyo, saving money, taking responsibility for Daisy, making time for me, building a life. What a deal..

IV. Women, Dating, and Sex

These last days there have been many women. Many many women. I find this pretty remarkable.

This is not a boast so much as a statement of fact. The apps multiply: Sugo, Tinder, Tapple, Thai Friendly, OkMeet, French sites with competent translation, text-only sex sites, and others whose names I forget. Free sites, cheap sites, sites that cost an arm and a leg. I started to develop lists. The Thailand list alone has maybe sixty names. More women than I could possibly meet. Tokyo has another half dozen. I began scheduling women the way a conference organizer schedules panels, except the conference was in Pattaya and the keynote address was sex.

At the center of all this chaos remains Litz.

Litz is real in the way the some of the others are not. Although no longer a couple, Litz and I still talk several times a day and text all the time. She knows my jokes, the invented women, her fake rivals Cindy and Julie. I tell her that Cindy is in bed with me and Julie is waiting her turn. She responds as though this ridiculous betrayal required serious adjudication. She says “baka you are waving your dick all over Japan. What am I going to do with you?” She is super funny. She is also, as many women are, totally outta control. Many men, myself included, are outta control too, however it is my experience that women are just that little bit extra outta control. For some reason.

Then there was Yua who I met online about a week ago. She has spent most of the last week, several hours a day, attempting to obtain a ¥5,000 Apple gift card, later negotiating it down to ¥3,000 so she could supposedly keep her “siblings” occupied with video games while she comes over for sex. She is 28. How young could her siblings be? I do not believe they exist at all, and are in fact just an elaborate cover for this increasing bizarre and tendential scheme of hers to fleece me for 50 bucks. For a solid week. Outta control.

Her commitment to the bit is almost admirable. Day after day she returns to the same small objective with the determination of a director of an intelligence service. Five thousand yen. Three thousand yen. Whatever I can afford. Baby what?

I began to admire the sheer disproportion between effort and reward. Either she liked me on some level, or she is perpetrating the least efficient scam in history. No rational person works six days for a ¥3,000 gift card. Yua, therefore, is not rational.

I thought of the Poison song Every Rose Has Its Thorn. Over time I have found this to be true. In this case, I reflected, every Yua has its thorn. And she is a thorny one that’s for sure. And yet I still talk to her. Go figure. I guess I am just weak this way.

Clara said she would come over from Osaka She got dressed. Maybe. She prepared. Perhaps. She vanished. Maybe she is real. Maybe she is not. Maybe she is a ghost. Maybe somewhere in Kyoto a beautiful woman is wandering around looking for me. God speed baby.

The two Lisas occupy separate jurisdictions.

One is the Yubari melon chick from Tokyo, beautiful enough that I continue to entertain her somewhat extravagant request for two extraordinarily expensive melons. I find this almost respectable compared with Yua’s ridiculous Apple gift cards. She is also extremely cute with her melons and all. At least Yubari melon exist.

Two melons for love. There are worse dowries.

The other Lisa lives in Amsterdam and floats somewhere in the broader international cloud of flirtation and scheduling.

Masha is my little Turkish bird. She communicates in stickers, goddesses, magic, feathers, and strange little fantasies. She asked for relatively small digital gifts and remains charming enough that I kept allowing for her many eccentricities. She is, of course, totally outta control. She could be an AI, a woman using AI, a woman pretending to be a bird, or an actual bird with excellent English. She could be anything really.

Then there are the many “UN nurses” imporbably stationed in combat zones. Three in five days. Donbas. Yemen. The Ukraine. Refugees. Humanitarian missions. Canadian surgeons wearing scrubs. Major Aaron. Whatever baby. You are a scammer and I don’t believe a single word you say. Oh well. Just one of the hazards of modern online dating I guess. Seen it all before. Bin.

Meanwhile Good Old Mr. Wank (oh yeah baby you know exactly who I mean) has remained the most dependable member of the cast.

He requires no gift cards, no airfare, no melons, no hotels, no flirtation, and never fails to appear when summoned. Mr. Wank rules.

Underneath this baroque carnival lies deep loneliness. I sometimes feel that sex is barely the point anymore. All I really want is to lie beside a woman, kiss her goodnight, and hold her until she falls asleep. Eventually I will sleep. If I’m lucky. That’s just the way things go as a lifelong night owl.

I love women.

V. My Writing

My writing this last week has been interesting.

My new daily series has begun to find readers. The first entry remains the leader among the new pieces. The essays on Litz and Sachie are about tied. My bisexuality piece is trailing a bit, which surprises me. Can’t always predict these things I guess.

Then my Dylan Thomas essay exploded.

The essay is eight years old, and I had redated and reposted it in 2024. For years the reliable traffic leaders at Kyoto Kibbitzer have been my Kris Kristofferson essay, Trump Gemini Dream, and my Razzlekhan essay.

Then, about six weeks earlier, On the Song “Dylan Thomas” and Comments on Rhyme began climbing. And climbing.

No campaign on my part. No new angle. No obvious news hook. It simply rose beyond all expectations.

In thirty days it received hundreds of views, blowing past every other piece on my site. I searched the eassy title and found it above Genius.com, radio stations, videos, and—amazingly—Wikipedia. Amazing. Dude what is going on? Something.

The piece still holds up. It examins the song’s clever AABCCB rhyme scheme, its near-rhymes, and its general alternation between political anxiety and private hedonism. “Corset” and “Corvette.” The general and the king. Dylan Thomas dying on the barroom floor. A shower at the Bates Motel. The world collapsing while the narrators search for another drink. It is a great song and I am happy the essay is doing so well.

The success of Dylan Thomas sent me back into the archive. I reposted My Brother Mike’s Bad Book, the Mariners story in which Mike, drunk and rowdy but morally precise, heard someone defending a man shouting gay slurs and replied with four perfect words:

“That’s a bad book.”

I fuckin’ love my brother Mike.

The Razzlekhan essay disappeared from Word Press recently. I have no idea why. Something. I found a copy on Medium where I used to cross-post many of my pieces. I copied it into Word Press and republished it. Thank god.

Zach sent me a thoughtful note about my essay about meeting my wife. He understood piece immediately, especially the line about two young people on the cusp of life. He invited me to English Mass and told me he had begun a new essay called A Summer Day. I would be traveling, so I declined the Mass, but I am glad he is writing again. He is an excellent writer,

The archive was not dead. It had merely been in hibernation.

VI. Summer

Summer currently exists in the future tense.

Tokyo. Bangkok Pattaya. Hydra. Athens. The Czech Republic. Busan. New York, briefly, before its hotel prices restored sanity. Yeah right. I wish.

Every destination seems possible. None are booked.

I will go to Bangkok, Pattaya, and Hydra as soon as my money kicks in.

Get high as blazes. drink Pina Coladas on the beach, wear my sunnies, try to avoid a sunburn, rail women for days, spend too much money, get laid. Thank god. What a life man. What a life.

Pattaya is going to be outta control. Lovely Harmony for three nights. Matteneee for another. Jenny on my last night in town. Jenny and Matteneee are both escorts. I asked them both if we could have anal sex and if they were on birth control so I could cum inside them. They both said yes. Condoms are a necessarily evil but do suck. Hard.

Bar girls, freelancers, the beach, weed, fruity drinks with umbrellas, swimming pools. All the metier of a recently divorced middle aged man going through a soft mid-life crisis. I make absolutely no apologies for any of this. It is what it is. Life goes on.

VII. Music

Music did not sit beneath the week. It carried it.

The Grateful Dead on my long walk into town: Catfish John, Must Have Been the Roses, and Black Muddy River. Jerry rules like no other. God does he rule.

Neil Young arrived.

Unknown Legend, Crime in the City, Cortez the Killer, Thrasher, Albuquerque with the great Mark Kozelek cover, Roll Another Number for the road. Songs became routes through the day, places to stand while everything else moved.

David Lowery’s Fathers, Sons and Brothers showed up and kicked ass, predictably. He rules too. He rules beyond all things. God I love David.

Then came the Drive-By Truckers/ Jason Isbell Patterson Hood song draft with my friend chat. I love to draft with chat, although he is and remains a big fat nabber. Oh well. It is still great fun.

We left Cover Me Up off the board, which was either courageous or simply malpractice.

Our list included “Dress Blues,” “Relatively Easy,” “Outfit,” “Birthday Boy,” “Speed Trap Town,” “The Day John Henry Died,” “Goddamn Lonely Love,” “Elephant,” “Carl Perkins’ Cadillac,” “The Righteous Path,” “Buford Stick,” “Decoration Day,” “Children of Children,” “Alabama Pines,” “Codeine,” and “Super 8.”

“Super 8” nearly broke the whole draft open:

Don’t wanna die in a Super 8 motel/ just because somebody’s evening didn’t go so well.

COME ON dude. Jesus Jason. Easy buddy.

Their combined catalog is not merely Southern rock. It is a curriculum in adulthood: fathers, sons, dead friends, drinking, divorce, work, small towns, the left behind, bad decisions, dignity, memory, hope, and the impossible notion of getting another chance after you have already used several.

Patterson Hood writes the people history forgets. Jason Isbell writes the ones who survive themselves. Mike Cooley walks in every third song, drops a perfect line, and checks out to hit the bar. The band simply rules. They all do.

I reflected on minor musical questions. Is Lucinda Willaims’ cover of Tom Petty’s Southern Accents better than the original. It’s tough but I think so. I listened several times to The Pixies absolutely shredding on Jesus and Mary Chain’s “Head On.” I put on Phosphorescent’s glorious cover of Corpus Christi Bay. Seam covering Breaking Circus’ Driving the Dynamite Truck. Nobody remembers Breaking Circus today. Nobody. Their version of Dynamite is marred by typical crappy 80s production which the Seam version cleans up. Whoever happened to these guys? No one knows. They are simply lost to the sounds of time, as we all will be one day.

The Mountain Goats have a new album coming out in just two days. Ryan Adams has a new one too that I am getting into.

Music is the best, and the world remained blessedly worth living in because of it.

VIII. Ordinary Days

Between the financial drama, romantic sub plots, and musical drafts, and my increasingly outta control mother my days slid by as usual.

Coffee. Green tea. Cigarettes on the balcony. Lying naked in bed half the day my PC propped up on my knees, writing. My buggy AC. Two fans on high. Porn. Phone calls. Existential angst. Sleep.

The second floor landing off the stairs remains a death trap. I toss laundry and dishes there and don’t dare step on the wooden boards lest I fall to my death. I am not remotely joking. From an actuarial perspective, the landing remains the most likely way for me to meet my final demise. I should take out insurance.

The area beside the bed improved. I removed most of the chocolate wrappers, cigarette packs, bottles, and general archaeological evidence of recent life. Beneath this material my residence card remained missing. Fuck.

A dozen voice-recording apps failed in different ways. I rely on text-to-speech apps for my writing and most of them suck. Of course. I finally found one that works well enough. They want $11.99 per year. No brainer.

I sleep in short blocks: an hour, two, four max. I woke, drank water, urinate off the balcony, smoke and do it all over again. It is, as the Feelies say, only life after all.

My body complains. Knees. Back. Ribs. Balls. My eyeballs burn from the cigarette smoke.

Sunburn across my stomach and shoulders after my five-mile walk beside the river in the sun. I look like a lobster. Oh well. It will pass,

I take several painkillers a day, trying to stay on dose, Why? No reason really. Just everything fucking hurts. I’m 52. What are you gonna do?

I’ve been slowly sipping a bottle of Napoleon Brandy for two weeks. It is too warm and I keep forgetting to get ice for it. Of course. I am just out it these days I guess.

My bicycle still scares me a little half a year after my winter crash. The roads are dry now, the heat intense, no ice to be seen, but my body remembered the crash. I remain skittish.

IX. Comedy

Life, among other things. is invariably funny.

Rainbolt, the GeoGuessr madman, who sees one sepia utility pole for half aa second along wth a patch of Polish grass, and calmly and corrently announces that we are twenty-two and a half miles west of Kraków. Make it make sense.You cannot. Rainbolt is just outta control. He’s some kind of savant I guess.

I want to re-watch the Joan Rivers documentary “Piece of Work” but I keep putting it off. Joan is hysterical. RIP to a real one.

Randy Quaid remains generally Randy Quaid. Obviously. He is insane. He just is. Dude the CIA gets up to some shit sure, but they are not in fact bugging your mind from an implant somehow magically implanted in your tooth.This is not a thing my friend. It is just not. Get a life. You’re outta control.

I remember Will Smith fucking slapping the shit outta Chris Rock at the Oscars over a totally tame G.I. Jane joke and then returning to his seat as though live global television had briefly become his living room. What a bizarre more. Will what are you doing my friend? Unbelievable.

Christian Dreyer sent a minimalist cartoon of two people in a car approaching an enormous fork lying across the road.

“It’s lunchtime!”

Totally bizarre. Dreyer is weird. No notes.

My mind drifted for some reason to the 70’s. TV shows like The Newlywed Game, The Love Boat, and The Dating Game, where an actual serial killer once appeared as a contestant, won the date, and was rejected afterward because the woman found him creepy. I was too young to watch these shows, however I am aware of them through the zeitgeist. Outta control.

The JonBenét Ramsey ransom note remains one of the strangest documents in American criminal history. The parents ate guilt as sin. They just are. It is a fact.

The alleged Trump Moscow hotel pee tape on the other hand remains unproven, although a remarkably well put together fake video circulated a few years ago because someone, somewhere, for some unknown reason, invested real time and effort into manufacturing the world’s most notorious and probably nonexistent pee video. Why? Reasons of their own. We will never know.

I began an essay called Was Donald Trump Peed On in Moscow? The likely conclusion: I do not know. Neither do you. That is the point, This does not prevent anyone from having absolute confidence one way or the other. Whatever dude. It was years ago. It’s just a little pee. So what? Let’s move on.

===== =====

Overall it has been a funny week. Then there was the Japanese loan interface informing me that 1974 never existed. Yeah right guy. Get a grip.

Then the three “UN nurses” purportedly in combat zones. Come on lady. You are a big fat clip-jointer. You know it. I know it. Everybody knows it. Get over yourself. Get.a real job lady. Sit this one out.

Yua’s six-day campaign for ¥3,000.

The price of two Yubari melons standing between me and love.

The phrase “crap on a cross,” followed by the reasonable question of how the crap actually got up there.

This was life, basically.

Outta control.

X. Eight Transition Days

This last week did not really resolve. That is the fact.

No big loan arrived. The house did not sell. Sachie had not yet moved out. Thailand is somewhere down the line. Greece too. I cannot wait to hit the road again. I love to travel. I just do.

But something has shifted.

The archive woke up. The Sachie and Litz essays are doing well. The dailies are off to a good start. My son called. It is too hot. My AC doesn’t work. Damn.

That was the week.

Everything else—the lenders, women, cards, trains, cigarettes, apps, travel sites, melons, war-zone nurses, Greek islands, shared walls, Google rankings, impossible birthdays, all the rest—spin around this fact.

Something’s gonna happen.

It always does.

Dedication:

For Litz. You can take this D anytime you like baby.