Fomite Press – författare

Like so many Americans, the citizens of Salvation Station struggled through the pandemic only to find they might not survive each other.  Slubber Doffers captures the absurdity of the post-Covid zeitgeist through the public comment monologues presented at school board meetings over the course of a full year. Nearing 100, Crescentia Jensen longs for the good old days.  New Age poet/goddess Nulaxia urges meditation and self-care. Fang Strong, the high school principal's bitter son, fights for his Satanic Society. Recently retired Harlowe Pendleton shares warnings from the dark web and frets about drones following him. Together the citizens grapple with racism and sexism, woke warriors and lice infestations. All the while, the community gropes closer toward the truth about the mysterious death of a beloved crossing guard and the secret lying at the bottom of that sink hole in the soccer field. For better, for worse, this is who we are.

A band of college students confronts the status quo on the streets and in the cultural and commercial centers of San Francisco. Students from rural New England throw themselves into the fight for liberation and peace, make love not war, power to the people and you are what you eat are among the cries of their marches and interventions in this novel and memoir of performance artists in San Francisco in 1970. In their late teens and early twenties, living communally, they awake, they self-realize, they learn to know themselves through yoga, zazen, psychedelics, ritual dance, and collective creation. They stretch the limits and refuse to let the "e;silent majority"e; dominate the new age, the age of Aquarius. The young people know better, they see with a clear vision and act with an open heart. With street theater, guerilla theater, infiltrative theater, off the stage and in the streets, they make innovative performances in tumultuous contexts. Their creative responses to the wave of international, racist violence unleashed by Nixon, Kissinger, and Hoover are an attempt at a full frontal, peaceful attack on the centers of power. Baxter Bagley tries all the ways — he is curious and wants to know. He takes risks, he learns about himself and his creativity. He is full of ideas and visions and faith in the future, healthy and resourceful, among friends. It seems there is nothing that can stand in the way of his knowledge and wisdom — only betrayal can interrupt the arc of his life and love.

ve years have passed since Nevin Boyle's wife died and their son disappeared after writing a note, "e;Sorry but I can't."e; What was it their son couldn't do––bear his mother's death or continue his struggle with mental illness? Maybe both. Paper Hearts is about Nevin Boyle's efforts to cope with grief and make peace with uncertainty, but it's also a story of love in its many forms: agape, romantic, familial, paternal, and more.

These poems lead us through a constellation of places: hotels, airports, cosmodromes, quarries, abandoned cities, vacated rooms—the dreamlike settings of past events that may or may not have occurred as we remember them. It is what remains when the fundamental categories of time, identity, and history no longer function reliably. In a world that has lost its center of gravity, we drift among the wreckage of value systems now decommissioned, laden with memories from a lost age. Although we survived the loss, we can no longer hold a stable form. While continuing to move, we no longer share a destination. We are an intermittent community, made up of fleeting trajectories that brush up against each other before disappearing into the openness of a universe which, though increasingly difficult to inhabit, is the only one we can call home.