The Days and Nights of My 50s I: 7/20/26, the Unwritten Libretto.

Author’s Note:

Five days ago, I made what may prove to be the most important professional decision of my life.

For months—years really—I had been thinking about giving up my teaching career and becoming a full-time writer. I have talked to many of my family and friends about this and taken several small steps in this direction. I recently published a novel, have written and published hundreds of essays, and written almost every day for eighteen years. I have hundreds of pages of dream records, journals and letters, some sent and some only in draft form. I am hard at work on the sequel to my first novel, and am currently working on five books with many more in the making.

Over this time I have also become very good at making excuses. School is too busy. Life is complicated. The timing isn’t quite right. Next month. Next term. Next year. One day. It was all true, and yet it barely matters. A few days ago, I finally admitted what had been staring me in the face for a long time: if I wanted to call myself a writer, I had to stop waiting for someone else to make that decision for me. Whether I eventually succeed or fail is almost beside the point. The decision itself changed something in me. I stopped thinking about the life I wished I had and started taking responsibility for the one I actually have.

Today wasn’t the happiest day of my life, nor the saddest. It wasn’t the day I got married, the day my son was born, the day I published my first book, or the day I realized my marriage was ending. Objectively speaking, it was an ordinary Monday in Osaka. I listened to music. I wandered the city. I shared dinner and my bed with a woman whose path happened to cross mine for a couple of hours before diverging forever. By tomorrow morning she would be somewhere else, and so would I. Yet somewhere between checking into a modest hotel, thinking about my future, and sitting alone quietly after she left, something finally clicked. My teaching career is rapidly coming to a close. The marriage that defined most of my adult life is over. The books I dream about haven’t been written yet. The cities I may someday call home are still only possibilities. The people who will matter most over the next twenty years are, at this moment, complete strangers.

For the first time since I was a young man, there is no obvious script. That realization is exhilarating. It is also terrifying. Most of all, it is deeply liberating.

So this seems as good a place as any to begin this series.

Epigraph:

Yesterday is history. Tomorrow is a mystery.

Anonymous

Anything could happen.

Bash and Pop

I: My General Situation As of Today

For the better part of thirty years, my life had possessed a remarkable amount of structure. I graduated from college. I moved to Japan. I found a teaching career almost by accident and stuck with it for a quarter of a century. I got married, and my wife and I bought a house together in Kyoto. We raised a wonderful son together who we both love more than words can say. We have paid bills, argued over groceries, worried about our dear dog Daisy, taken vacations when we could afford to, and slowly accumulated the ordinary rituals that eventually become a life. There were wonderful years and there were difficult ones, but there was almost always a next step waiting patiently in front of me. Whether I liked the script or not, there was a some kind of a script.

Then, almost imperceptibly at first, it disappeared.

My marriage ended not with a single dramatic explosion but with the gradual realization that two decent people could simply reach the end of the road together. My teaching career, once the defining feature of my adult identity, began to quietly recede into the background. Friends scattered across countries and continents. My parents grew older. I turned fifty-two without feeling especially old, but with the unmistakable sense that I had entered the second half of whatever story remained.

It is a peculiar thing to discover that freedom and uncertainty are twins. For years I imagined freedom as something uncomplicated. Finish work. Write books. Travel. Meet interesting people. Drink coffee in strange cities. Listen to music until two in the morning. Wake up whenever I pleased. Answer to no one.

There is truth in that fantasy. There is another truth as well.

Freedom also means that no one hands you tomorrow. No institution is waiting to promote you. No family obligation automatically determines your next decision. No invisible current carries you downstream. Every meaningful choice becomes your responsibility. Every success belongs to you. Every failure belongs to you too.

That realization can feel less like opening a door than standing on the edge of a cliff. You can step forward. Or you can spend the rest of your life admiring the view. Five days before the evening you’re about to read about, I decided I was done standing still.

I wasn’t retiring, not yet anyway. I wasn’t exactly reinventing myself. I wasn’t chasing some impossible dream. I was simply acknowledging something that had probably been true for twenty years. I am a writer. I feel like I was born to be one. Whether anyone else eventually agrees is, in many ways, beside the point. The work itself has become the destination. Everything else—the cities, the books, the women, the music, the bars, the victories, the humiliations, the friendships, the failures—is simply material for my work.

This series is an attempt to pay attention to the contours of my daily life, in whatever form the may take. And, perhaps for the first time in my life, to trust that the story doesn’t need an outline before it begins.

II: Osaka

Osaka has always felt different to me than Kyoto.

Kyoto is the city where I built my adult life. It is where I have worked, and lived for more than twenty years with my life and son. It is where the mortgage was paid and our dog was walked, where ordinary afternoons quietly accumulated slowly into decades. I know its rhythms inside and out. I know which coffee shops open early, which bridges are worth crossing at sunset, and where to stand beside the Kamogawa when I need to remember that almost everything eventually passes.

Osaka has always been to me something else entirely.

It has never asked me to be responsible. When I come here, I feel somehow lighter. Less like a teacher. Less like a husband. Less like the man who spent twenty-four years inside the same corporate institution. Osaka has always given me permission to become, if only for a day or two, a slightly different version of myself. Not a better man or a worse one. Just someone with fewer expectations resting on his shoulders.

Perhaps every city we visit has a role to play in our lives. Kyoto has been my home. Tokyo has often been a dream. Singapore has long been my favorite escape. Osaka, though, has become my intermission. A place where I can step off the stage for a little while before the next act begins. A place to just get away.

This Monday afternoon I checked into a small APA Hotel not far from Shinsaibashi Station, which I affectionally call Mr. Shin. Like most APA hotels, it is clean, efficient, and just a little too compact. The room isn’t exactly designed for lingering. It is designed for sleeping, showering, and moving on. My suitcase for neatly against one wall. The desk is barely large enough for my laptop and a cup of coffee. The large television in front of my bed I will barely use. It suits my current mood perfectly.

I took a taxi to the hotel from Shin-Osaka Station and arrived around 7:30 PM. I dropped my overnight bag on the floor, drew the curtains apart, and looked out over another slice of Osaka. Nothing spectacular. Just traffic, apartment buildings, and the quiet machinery of a city getting on with its day.

I remember thinking how strange it felt to have absolutely nowhere I needed to be. No lesson to prepare. No meeting to attend. No papers to grade. No one waiting for me at all.

That realization no longer frightened me the way it once might have. It felt… spacious. There are moments in life when freedom announces itself with fireworks. This wasn’t one of them. It arrived almost silently. Like an empty afternoon. Like a city that has never asked me to explain myself. My hotel room is simple. It is what I can afford.

Outside, Osaka continued exactly as it always had. Inside, almost without me realizing it, the next stage of my life had already begun.

III: Meeting Yuki

I should flash back briefly here to introduce my date for the evening. There are evenings that require months of planning. This was not one of them.

The plan, such as it was, consisted of very little. Conversation. Sex. Cigarettes. Dinner. That was enough. As I stepped out of the taxi, I saw her standing quietly on the street.

She was slightly built, dressed in a simple black skirt, and carried herself with the quiet confidence of someone accustomed to meeting complete strangers. There was no dramatic meeting, no cinematic slow motion, no instant thunderbolt. We smiled, introduced ourselves, and within a minute or two were walking side by side into the hotel through the warm Osaka evening as though we had agreed to meet as old friends rather than someone we had never laid eyes on before.

Her name was Yuki.

We went up to my room and made the sort of awkward conversation that strangers always make at first. Where are you from? Where do you live today? Had I been to Osaka often? Was I enjoying the summer?

Nothing remarkable. Which, in retrospect, was itself remarkable. There is something deeply comforting about ordinary conversation. For a little while, neither of us had to be anything more than two people just getting to know each other.

Eventually, because pretending otherwise would have been absurd, the reason we had met entered the conversation. She is thirty-six and works as an escort. I had hired her for the evening.

There is no point dressing those facts up in prettier language. They are neither the whole story nor something I feel any particular need to defend. They simply belong to it. Human lives are untidy. We make decisions for reasons that are sometimes noble, sometimes lonely, sometimes curious, and sometimes impossible even to explain to ourselves. This was one of mine.

I went into the bathroom to wash up, took my clothes off, and hung them neatly on the hangers on the wall. By the time I came out of the bathroom she was naked too. That was what we were there for. I put on one of my favorite bands Whiskeytown, lay back on the bed for a few minutes, listened hard, and let the sweet sweet sounds of Ryan Adams’ voice wash over me. I was, briefly, in heaven.

Then, inevitably, we began to kiss. She is a smoker and tasted like stale tobacco and faintly like green peas. I am a smoker too so I am sure I tasted the same. She unwrapped one of the condoms that I had bought earlier for occasions just like this and began to pleasure me with her mouth. While I do enjoy oral sex to some extent, it is far from my favorite sexual act and I have never been able to cum this way. Not for lack of trying, I simply find that the women who have performed the act on me can never sufficiently been able to get their teeth out of the way. It is not their fault at all, but it is just that simple.

Soon enough, I asked her to climb on top of me. My penis was already erect and she was slick as well, and I entered her cleanly and easily. After a little while, we flipped around and began to engage in the missionary position. I was on the urge of cumming when I pulled out, turned over on my back, and finished my self off with two hands. Nine times out of ten I finish this way if I finish at all. After all, I know my own equipment better than else, so to speak. Before we began to have sex I put on some porn. I chose very quickly as we were on the clock. I selected some perfectly nun priest porn, totally chalk. Of course we both barely watched it as our eyes were mostly closed. The moment I came I toweled off, shut off the porn, and immediately pressed play on the Whiskeytown video I had paused before sex.

Then a funny thing happened. During sex she had repeatedly asked me to turn down the porn and to shush in general. She said we were at a business hotel and that we were bothering the other guests. Although I love to be babied. I do not like to mothered at all. It is just not my thing, and I have written about this at some length here. I already knew that I would not book Yuki again, and this moment helped crystalize my decision. She is sweet and cool, and I am glad I met her for one night, however she is just not my jam. And also, nobody shushes my boy.

Anyway, she asked me to turn my music down. I just laughed and cranked it. Then she laughed too and the mood lifted and passed. Neither of us was yet in the mood for a shower, mostly because we were on the clock and by this point only had about 40 minutes left in our appointment. I did not feel like a round two, so I suggested we head down to the street to smoke for a smoke and then get a little dinner. Although we had less than an hour left and the hotel restaurant was a little busy, she agreed to have dinner with me.

We finished our cigarette and entered the first floor hotel restaurant. We sat down and briefly consulted the menu. The restaurant specializes in pasta, so I ordered tomato pasta with eggplant and she ordered the zucchini linguine. The food took a while to arrive, so halfway through the meal she asked for a doggie bag. I quickly finished my meal and we went upstairs so she could pack her bag.

The evening had never pretended to be anything it wasn’t. Neither of us confused it with romance. Neither of us imagined it was the beginning of some extraordinary love story. It was simply two lives crossing for a few hours before continuing in different directions. There is something quietly beautiful about that too.

Outside, Osaka was still very much alive. Trains rattled somewhere in the distance. Traffic rolled steadily beneath the hotel windows. Thousands of strangers were beginning nights that had nothing to do with ours. Ours, quietly and without complaint, was coming to an end.

I told her I was going to wash up for a minute. She said through the door that she had to leave. I said goodbye babes and she replied in the same fashion. When I came back out, she was already gone.

And I didn’t even kiss her goodbye.

IV: Coda

For most of my adult life, my future had always arrived with an outline. There was always another semester to teach. Another report to write. Another mortgage payment to make. Another family holiday to plan. Another school year waiting just over the horizon. Even when life became difficult, I almost always had a sense of what would come next. The details may change, but the broad shape of the story had already been sketched.

And now it hadn’t.

As I write this the marriage that defined nearly half my life has come to an end. My teaching career, after almost thirty years, is slowly coming to an end. My son is a grown man, trying his best making his own way in the world and earning his own money. My wife and I are immensely proud of him as well we should be. Our house of 19 years will soon belong to someone else. My life is rapidly becoming quite different and everything that had once seemed permanent has become part of the past.

This all may sound just a bit sad. Some of it may be, sure. It also happens to be exhilarating. Tomorrow I might wake up in Kyoto. Next month I might find myself in Singapore. A year from now I may be living in Osaka. Anything could happen.

Perhaps I’ll write ten more books. Perhaps no one will read them. Perhaps I’ll fall in love again. Perhaps I won’t. There will be close friends I haven’t made yet. There are cities I have not yet wandered. There are songs I haven’t fallen in love with, thank god.

There are mistakes waiting patiently for me. There are joys I cannot yet possibly imagine. For the first time since I was in my early twenties, the next chapter of my life has not yet been written.

As I stood there in that little Osaka hotel room, listening to Whiskeytown waft through the room, I finally understood what life had trying to tell me for days.

My life hadn’t fallen apart. It had, in fact, opened up. And somewhere beyond everything I thought I knew, waiting patiently for me, was the unfinished libretto.

Dedication:

For Yuki. Thanks for a lovely evening. I’ll never see you again, babe. Go with God.

Scenes from Hamilton College III: Sophomore Year I (with cameos from Sonic the Hedgehog, Ani DiFranco, and Candle Time)

Note: In Part I and Part II of this series I wrote about my freshman year at Hamilton. Part III will take up sophomore year where I lived down the hill in Bundy Dorm.

All you ladies and gentlemen
Who made this all so probable

Big Star

After freshman year I returned back to Washington State for the summer. I have written glancingly about this period, suffice it to say I was not up to much. Still broke, I did have a short lived girlfriend but she dumped me mid-summer. I spent a few days moping around playing nerf golf at my parents’ house, then got over it. I don’t remember much else from that summer except that I got back in good running shape, and when I got back to campus in the fall I turned out, once again, for the running team.

One thing I neglected to mention in my pieces on freshman year is that I actually competed on the JV running team at Hamilton for a time and ran a few races. I was not in great shape that year, and JV was not that exciting. As I have written, I had other pursuits. Sophomore year, however, I was in better shape and had a shot at making the top five. The only other runner I recall was called Harry. I thought Harry lived in Sig, but Jake tells me he was in a frat called THX, about which I remember nothing. In any case, Jake knew him. Harry was a hardcore runner and scolded me about my lifestyle, wanting me to devote myself to the team. I was not going to do this, but I was able to run with Harry and the first team for a number of practices. In the long run though it didn’t work out–they ran mornings and afternoons, and my summer shape wasn’t going to carry me through a hyper-competitive season. I was a good runner, but I just didn’t have the drive. Sooner or later I left the team, this time for good. I look back fondly on Harry however–he was right; I was lazy and needed a kick in the rear.

As a sophomore I roomed in a double with John Innes (there were two John’s in my friend group, John Innes and John Slack), in a dorm halfway down the hill to Clinton called Bundy. Marc Campbell was also on our floor. Ian was living in his frat, but spent a lot of time in Bundy as he was dating Ann, someone who I became close with over the year as well. Jake was over at Sig and I didn’t see much of him, mostly for geographic reasons.

Bundy was a way different story than North. First, I spent a lot more time in my dorm room with John Innes. Innes would watch the soap opera Days of Our Lives and insist I watched it too. I could have cared less, but watched it to be a good friend. We also played Sega, almost exclusively Sonic the Hedgehog and Sega Hockey, at which John usually beat me (however not in the biggest matches, as I’ll get to later). Innes liked rap music and had a pretty good collection. I could get into some of the rap; I liked Public Enemy, KRS One, De La Soul, and a minor band called Basehead which wasn’t really rap. However I was by then deep into what would today be described as alternative or indie music, so Innes’ taste and mine mostly diverged. We were both good about sharing airtime though, so he got to know my music and I his.

The record I listened to the most, by far, that year was Big Star Third: Sister Lovers from the then mostly forgotten American band Big Star. I loved this record (which was on Rykodisc), and played it endlessly while trying to advance in Sonic the Hedgehog. I stuck my mattress in the closet and hung a tapestry over the door area so I had a little cubby to sleep in. Overall, the whole scene was much more domestic than the pretty chaotic North.

Other than Marc and John Innes, I don’t remember exactly who the other guys who were on our floor, but I’ve been reminded that John Slack was one of them. Ian and Jake were living in frats, and over the year I got to know a new crew of people, including several girls. These included firstly Jenny and Jen, who lived in the female area on our same floor (maybe the second floor? Innes will remember). Innes and I became very close to Jenny and Jen, and spent almost every evening hanging out in their room doing something called “Candle Time.” Candle Time was pretty much exactly what it sounds like–we would turn down the lights, light candles (which was probably against school rules) and talk for hours. We would talk about our days, people and goings on in the dorm, and just life in general. It was really wholesome and again, a major change from North.

Candle Time lasted, in my recollection, for a number of months, but not all through the year. Despite spending so much time together, there was no romantic involvement, although I believe Innes and Jen did get together later, and briefly; I’m not really sure. I think it was supposed by some that I myself had a crush on Jen; however although I liked her a lot this was not the case. I did have a little bit of a crush on Jenny, but she had other people who were interested in her and we all hung out so nothing ever happened. That was fine–it was actually really nice to just have close female friends with no expectations.

Jenny and Jen were both from the upstate New York area, broader Rochester as I recall. My guess is they came from relatively less money than many of our classmates, who came from preppier areas, and schools. I actually visited Jenny’s house once or twice, and I think a bunch of us slept over once and watched the film Glengarry Glen Ross. These included Amy Holland, who was one of the coolest chicks around. She was called “Red,” on account of her red hair, and was totally my speed. Everyone else fell asleep during the movie except Amy and I and as I recall she loved what is, to be fair, a pretty stereotypically male film.

Jenny’s house was nice, but seemed pretty middle-class and maybe that’s part of why we all bonded–the richer kids, although I obviously hung around with them a lot, had their own life ways to some extent. I remember one evening Jenny and I went to see the band The New Dylans on campus. I thought they were a good band, and had found their cassette at the campus radio station where John Innes and I had a sports talk show. Their record has a song I liked called “The Prodigal Son Returns Today.” They sounded kind of like a minor league Big Head Todd and the Monsters or something, and are kind of dated today if I’m honest, but I was excited for the show. At first it was pretty full, but people left little by little and by the end it was just me and Jenny. The band played their hearts out for the two of us, including encores! After the show, I joined them for a cigarette outside and chatted. I told them that I really liked the show and they said thanks and all with no mention of the fact that the venue was totally empty. That’s professionalism, I thought, and I imagined that as a band trying to break through playing small colleges and sending cassettes to radio stations they’d had their share of ups and downs. I doubt they are still around, but if so I’m rooting for you guys!

A bigger star that played Hamilton was Ani DiFranco. I saw Ani several times, both on campus and off, as she was pretty huge in New York State at the time. She had not yet released Dilate,” which came in 1996 and was her mainstream breakthrough to the extent she ever had one, but she was a star on campus, mostly with the women but with a lot of the guys too. Ani put on a great show, and I totally got the appeal. She was kind of the Jeff Rosenstock of the day I suppose.

Shawn Colvin also came, and I knew some of the people who were assigned to take care of her backstage. They reported that she was a total asshole, asked for coke, and generally threw her weight around big time. Shawn Colvin was OK, but no so great that she could act like a diva I don’t think. Full on divas are acceptable-like Joni Mitchell might be a diva and what are you going to do–but minor league divas pretty much suck.

Anyway, like I say over the year although we still saw each other, I saw less of Jenny and Jen, and more of other people like Ann, Amy, and Matt Thornton. I’m not sure where Matt lived, maybe Bundy and maybe not, and I don’t recall either how or when I met him, but we soon became fast friends. Matt was full speed ahead, and argumentative, but I can handle my own in an argument, and I really liked him. Matt ran with an interesting group of friends, including several Asian-Americans who I believe lived on the Kirkland side of campus. Hamilton used to be a guys’ school and Kirkland was the attached girls’ school. Then at some point they merged, but the Kirkland side and the old Hamilton side always felt distinct to me and were separated by a bridge.

One time we were talking about going to New York and Matt told me about some clubs for Asians that he was interested in. Matt’s friends told him that he (or I) could not go to these clubs because we would get the shit kicked out of us. Had to be at least half-Asian apparently. But I think Matt went to these kinds of clubs anyway and did not get beat up, because he just sort of rolled that way.

Matt and I and Ian did go to New York eventually, and spent a few days uptown at some person’s apartment where I commandeered a prime sleeping space and we ordered pizza three times a day. I believe this was actually after graduation, as Matt transferred before graduating from Hamilton.

As I mentioned in an earlier piece, this was also the year Ian and I went to Boston to see music shows. We went with a fellow called Cale who was a freshman. Cale was cool, and also we liked him because of his name, reminiscent of John Cale, violist for the Velvet Underground who Ian and I were both fans of. With Ian and Cale I felt like I was in good company–we were all very simpatico.

My academic performance sophomore year was just OK. I took more English classes, and also started to take some History classes including some Asian History with Tom Wilson. Tom Wilson was a good professor, but I think he was one of those guys who really saw himself at U. Chicago or Yale or something. A lot of academics are like that. Nevertheless, Tom was good–tough but fair–and pushed me to really deepen my research abilities. Outside of Tom’s class, my effort was a little mixed, and during the dead of winter I skipped some morning classes because the climb up the hill was just too tough. The winters in upstate New York are pretty brutal, and I preferred to stay local down in Bundy a lot of the time.

One more thing I remember from this year is starting, and then dropping, photography class. I had an old camera that barely worked, and was interested in learning how to develop film in a darkroom. However, photography class was really expensive because we had to regularly buy these huge rolls of film which cost like $50 at the school store. A classmate I’ll call C. to protect his identity told me, “just tuck your pants into your socks and drop the film down your pants and walk out. That’s what I do.” But I wasn’t going to steal film all year and there was no way I could pay the outrageous costs. On top of that, I wasn’t all that good–certainly my classmates outclassed me, crappy camera or not. So I dropped it after six weeks or so; however now that I think about it I may well have met Matt Thornton in that exact class. It’s a possibility.

Note: That will do it for Part III. In Part IV I’ll write more about my friendship with Ann as well as the Sports Talk Show we did on the Hamilton radio station.

Dedication: For the whole Bundy dorm, actually. It was a pretty chill year.

to be continued…

On Kris Kristofferson’s “To Beat the Devil”

This piece takes a look at Kris Kristofferson’s “To Beat the Devil.” The song appears on Kristofferson’s self-titled debut album from 1970 on Monument, which is, by any standard, an astonishingly good record. The album features “Me and Bobby McGee,” “Sunday Morning Coming Down,” and “Just the Other Side of Nowhere,” along with the ol’ Devil. That’s four absolute classics right there for ya.

Sunday Morning features an opening quatrain that most other songwriters would trade their career for:

Well I woke up Sunday morning/ with no way to hold my head that didn’t hurt/ and the beer I had for breakfast wasn’t bad/ so I had one more for dessert

(I could play this game all day—Jason Isbell’s Southeastern features another couple life-work worthy couplets:

The first two lines of “Super 8”:

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

And from “Different Days”:

Time went by and I left and I left again/ Jesus loves a sinner but the highway loves a sin.

If I’d written lines that great I’d call it a career and sip martinis on the house for the duration.)

Sunday Morning and Bobby are probably objectively better songs than To Beat the Devil, yet what I like about this one is that Kristofferson states very clearly a kind of founding intention for his life in song and art, right out of the gate. The only parallel I can think of is Craig Finn’s The Hold Steady, whose first album Almost Killed Me kicks off with “A Positive Jam.”

(Here’s Finn telling it like it is:

I got bored when I didn’t have a band/ so I started a band/ we’re gonna start it with a positive jam/ hold steady.

Rock on Craig baby.)

Anyway, let’s get to the focus of this piece. Kristofferson opens with a spoken intro.:

A couple of years back I come across a great and wasted friend of mine in the hallway of a recording studio. And while he was reciting some poetry to me that he had written, I saw that he was about a step away from dying, and I couldn’t help but wonder why. And the lines of this song occurred to me.

Here the singer is looking up at his idol who is both “great and wasted.” I wasn’t around quite yet in 1970, yet I can easily imagine Ginsberg’s “best minds” line hanging over talented folks across a lot of zones. Klosterman wasn’t quite there either (June 5, 1972–a mid Gemini of course), but he was close, and to indulge not for the last time in a little Klostermania, the zeitgeist seemed to be making people thirsty.

The singer receives some scraps of poetry, shards of shattered inspiration, and a song “occurs” to him. He doesn’t state it directly, however we imagine the song arrives fully formed, like “Pancho and Lefty,” or “Kubla Khan.” Thus, To Beat the Devil is also both an answer and an offer of redemption to his idol, who here is John(ny) Cash.

I’m happy to say he’s no longer wasted, and he’s got him a good woman. And I’d like to dedicate this to John and June, who helped showed me how to beat the devil.

The singer takes up the mantle of the master, and in so doing opens a possibility window onto redemption for his senior. This is no exaggeration—Cash also recorded To Beat the Devil in 1970 and we are basically stipulating that Kristofferson’s genius, descended from Cash while also original to himself, helped rescue Cash from addiction and the whole deal there. We won’t be deep diving into the archive on this one—as we said we’re just keeping it local and breaking it down, so you’ll have to take my word on it or search it up your own self.

Here’s the first verse; the words speak for themselves:

It was wintertime in Nashville/ down on Music City Row/ and I was looking for a place/ and to get myself out of the cold/ to warm the frozen feeling that was eating at my soul/ keep the chilly wind off my guitar

A classic down and out in the big city piece of scene-setting. The singer is physiologically and psychologically frozen, a cold wind gusts across his art. The man needs a break.

My thirsty wanted whiskey/ my hungry needed beans/ but it had been a month of paydays/ since I’d heard that eagle scream/ so with a stomach full of empty/ and a pocket full of dreams/ I left my pride and stepped inside a bar

You might think that the operative nouns here would be “thirst” and “hunger,” but no. This is not a man with a thirst; this is a thirsty man. We also hear an echo of a now-ancient American past where a man with an empty stomach would go in search of, of all things, “beans.”

Anyway, he’s got no money, can’t really bring himself to care. So, a singer walks into a bar.

Actually I’d guess you’d call it a tavern/ cigarette smoke to the ceiling
and sawdust on the floor/ friendly shadows/ I saw that there was just one old man sitting at the bar/ and in the mirror I could see him checking me and my guitar/ and he turned and said/ come up here, boy, and show us what you are/ I said I’m dry, and he bought me a beer

The man in the mirror, the devil himself. The singer comes face to face with the man who checks him out and summons him over. Kristofferson then enters into a bargain–offers up the terms of an encounter: a beer on the old man’s tab. Score one for the thirsty man. The singer faces the old man; it’s to be a showdown. He doesn’t have much, but he’s got some “friendly shadows,” traces of an older map perhaps, an older memory.

I can’t help here but engage in a bit of presumption. When I play the song in my head, I want to hear “in the mirror I saw him casing me and my guitar,” (listen to the way he pronounces “guitar” on the track. Kristofferson was born in Brownsville, Texas in ‘36 and behind the laid back folksinger you can here some roots here baby).

If I could make one edit to the song, it would be to replace “checking me,” with “casing me.” What a great verb “to case” is.

Lexical Interlude: “To case the joint”

1. slang To observe a place in order to familiarize oneself with its workings in preparation for some criminal activity (often robbery). Judging from the security footage, those men cased the joint hours before robbing it.

2. slang By extension, to thoroughly examine a place. In this usage, no devious motive is implied. As soon as my kids walking into the hotel room, they started casing the joint, exclaiming about everything from the TV to the mini-fridge.

The seminal use of this verb phrase comes from Bill Callahan, formerly of Smog. Callahan is an odd duck—he is so artificial, so obviously self-created as an entertainer, that he has become almost post-authentic.  Callahan contains multitudes.

My favorite Smog album, well in the top two, is Red Apple Falls, which features “Ex-Con,” on which Callahan sings: 

Jean jacket and tie/ feel like such a lie/ when I go to your house/ I feel like I’m/ casing the joint

Devious motive implied.

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He nodded at my guitar and said/ it’s a tough life, ain’t it?/ I just looked at him/ he said “you ain’t making any money, are you?/ I said, you been reading my mail/ he just smiled and said, let me see that guitar/ I got something you ought to hear/ and then he laid it on me

The devil has a bead on the singer, and he’s not far off.  Yes he’s broke.  Yes he’s down and out.  Whaddaya want?

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Filmic Interlude I: The Long Goodbye

In Robert Altman The Long Goodbye, written by Leigh Brackett, the main character Philip Marlowe gets out of jail somewhere in the first act and heads to a all-purpose pit stop restaurant who’s owner apparently collects Marlowe’s mail. The dialogue is exquisite.

Marlowe: You got any messages for me?

Owner: Believe we’ve got a few over there. As a matter of fact, you’ll find my phone bill in there too.

Marlowe: I wouldn’t worry about that.

When you ain’t got nothing you got nothing to lose. Kristofferson’s got nothing to hide in his mail. Those bills go straight to the wastebasket.

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If you waste your time a talkin’ / to the people who don’t listen/ to the things that you are saying/ who do you thinks gonna hear?/ and if you should die explaining how/ the things that they complain about/ are things they could be changing/ who do you thinks gonna care?

there were other lonely singers/ in a world turned deaf and blind/ who were crucified for what they tried to show/ and their voices have been scattered by the swirling winds of time/ ‘cause the truth remains that no one wants to know

The devil’s words speak for themselves. The path of the troubadour is a dead end. The world has not ears to hear nor eyes to see. Truth tellers meet a bad end. Whiners gonna whine. It’s a strong opening bet, made, we presume, with his red right hand.

Well the old man was a stranger/ but I’d heard his song before/ back when failure had me locked out/ on the wrong side of the door/ when no one stood behind me/ but my shadow on the floor/ and lonesome was more than a state of mind

The singer is on familiar territory; he’s has been tempted by this cynical incantation, he’s not immune to tuning out his calling when out in the cold. Who is?

You see, the devil haunts a hungry man/ if you don’t want to join him/ you gotta beat him/ I ain’t saying I beat the devil/ but I drank his beer for nothing/ then I stole his song

This is the key verse in our little tale. You see, when we tango with the devil the devil usually gets to lead. That’s just the way it goes. But the thing about the devil is, his game is a bit of a bluff. A couple of low pairs, maybe. You just gotta call.

and you still can hear me singing/ to the people who don’t listen/ to the things that I am saying/ praying someone’s gonna hear/ and I guess I’ll die explaining how/ the things that they complain about/ are things they could be changing/ hoping someone’s gonna care

I was born a lonely singer/ and I’m bound to die the same/ but I’ve gotta feed the hunger in my soul/ and if I never have a nickel/ I won’t ever die ashamed/ ‘cause I don’t believe that no one wants to know

Kristoffeson flips it right around. The devil’s got a point; the singer may die dead broke, that’s fine. Songs are borne on the wind in any case. The thing is to have faith in your audience. To believe someone is out there, heart in their hands and ear to the wind. And to hold this faith as a mantra. That’ll keep ‘em guessing, cause then you’re not playing their game, you’re playing your own.

Overall, To Beat the Devil is a young man’s song. It’s got a confidence, a swagger, even a hubris. So, after drafting most of this piece I wanted to find a recent live version, see how it’s aged. I stumbled on a version from a live set with Lou Reed released in 2017. The set is part of The Bottom Line Archive, and it finds Kristofferson in a Waitsian stage of life. The voice is richer than ever, but he’s not exactly singing. Then again, that’s what they said about Dylan and it’s B.S. The voice is the voice; singing is just a category.

The set is interspersed with short interviews of the two songwriters. Here is Kristofferson’s spoken introduction that precedes To Beat the Devil. It is instructive.

Interviewer: The devil figures in some of your songs, you know there’s that silver tongued devil and he pops up from time to time. Who’s the devil? What’s the devil for you? What are your demons?

K.K.: Well, I, I’ll do that song then. Ahhh…

Interviewer: Is that a metaphor or is that something real for you?

K.K.: Well here’s a song called To Beat the Devil. Maybe it’ll explain it. I can’t.