Sometimes a Great Notion (Penguin Classics)

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Turn the Page: Your Next Rock ‘N’ Roll Book Club


My wife carries the distinction of being, among many other things, the world’s most ardent fan of the southern California folk-rock band Dawes. If they’re playing a show within 100 miles of our home, she will unquestionably be there; when they announce the release of a new recording, she pre-orders it as soon as she can. And if they offer a book club — in which, every other month, a member of Dawes sends out a paperback, along with an explanation of why he chose that book — she will become a member, excessive cost be damned. Since she joined in August, we’ve received three Dawes-approved titles: Italo Calvino’s If on a Winter’s Night a Traveler, Ken Kesey’s Sometimes a Great Notion, and, most recently, Henry Miller’s Big Sur and the Oranges of Hieronymus Bosch. “[Miller] leans heavily on some of the pre-existing tenets of eastern religion,” drummer Griffin Goldsmith writes in his “Dawes Book Report,” “particularly the idea that an individual’s happiness is not only contingent upon where they are in the world, but also upon a confluence of internal emotions.”

To put it mildly, such knottiness is not what my wife expected from her fluffy-haired purveyors of golden-hued singalongs. (And I can’t really blame her; in college, I abandoned Sometimes a Great Notion after 15 flummoxing, headache-inducing pages.) All I can do is clear out shelf space for her new and difficult books — and suggest, politely, that she join one of the following competing rock ‘n’ roll reading clubs, which, of course, include their own book reports.

Ozzy Osbourne: Of Mice and Men
So, Of Mice and Men, it’s got this big dumb wanker, Christ, I can’t remember his name — wait, wait, it’s Denny, no, Lenny, that’s it — and his mate, this teensy little shitter, George. This George fellow is like the Oates to Lenny’s Hall, if that makes any sense. I don’t think it does. Fucking “Maneater,” innit. Anyway, they’re all kinda walking around and what, like, camping? And the big one, he’s always killing the animals ‘cos he’s so fucking big. Like, you ever see that guy, whatsit, Joey Ramone? I met him once in Boston, or like Tokyo? He was fuckin’ huge, and that’s who I kept thinking of when I was reading this book. At the end of the book, the guy from the Ramones kills this kind of hooker-type bird in a barn, and that was pretty much that. Christ, I don’t know what this book was on about.

Bob Dylan: Twilight
Twilight is a book about a girl who falls in love with a boy who, I’ll tell you right now, just happens to be a vampire. Life is funny like that sometimes. But this girl, her name is Bella. And she can’t do anything about this love of hers; she just can’t put it through. Some hoodoo about magic powers, is what I’m gathering. Young love is like that, I’ve found — untrustworthy at its heart and cold where it shouldn’t be. The book asks a certain kind of question, one that the wise men have been wrestling since the days of Plato, since the days of Little Richard, banging out his mystic sounds: is true love possible? And if not, how about vampire love? Now, I don’t know if it is or not, since I never was able to finish the book. I couldn’t make hide nor hair of it, to be honest on all fronts. It’s really long — longer than the mighty Mississippi, where you can hear that steam whistle blow, far off into the night. Out beyond them sycamore trees standing out in the dark. A sound to scare the vampires, if there are any vampires around to scare.

Jimmy Buffett: American Psycho
Maybe you weren’t expecting Bret Easton Ellis’s American Psycho to be the first selection of my book club. Jimmy, I hear you plead, you’re the bard of the beachfront, the Wordsworth of the waves. You once released an album called License to Chill; you write songs about delicious cheeseburgers. Why kick things off with a harrowing, full-bore descent into the savage, blood-spattered heart of our long-dead modern dream? Why confront us with this jagged, debauched journey into a pornographic, torturous vision? Why not give us something easy, something by Carl Hiaasen or, you know, Dave Barry — or better yet, one of your own books, like the lounge-chair-ready A Salty Piece of Land or Where is Joe Merchant?

My response is this, my faithful Parrotheads: beneath every placid exterior lies a festering, maggot-ridden core, a hellish pit of snakes and raw-boned, scalding pain. Stare into those waves lapping gently against the shore long enough, and soon enough you’ll see the nihilism in their relentless pounding; that water at your sunburned feet should remind us all of the steady encroachment of death.

Anyway, where was I? Oh, yes — I hope you dig the book! Up next after this one: The Lincoln Lawyer, by Michael Connelly!

Adam Levine: Ulysses
Hey, Maroon 5 Book Clubbers! This month’s super-cool novel is James Joyce’s Ulysses, which is hugely important to me, and not just because it’s the most prominent landmark in modernist literature — or that in 1998 the Modern Library named it the best English-language novel of the 20th Century! I chose Ulysses because it’s a work in which life’s complexities are depicted with unprecedented, and unequalled, linguistic and stylistic virtuosity. (Seriously, guys, it is!) But that’s not all: in its characters we see, according to some lex eterna, an ineluctable condition of their very existence! Isn’t that rad? All right now, Fivers, get to it — I hope you love it as much as I did! ‘Cause I totally read it — and other books, too! I didn’t just have my assistant cut and paste lines from Wikipedia to make it seem like I had read Joyce’s sublime masterpiece, which, I have to say, depicts life’s complexities with unprecedented, and unequalled, linguistic and stylistic virtuosity!

Image Credit: Wikipedia/jon rubin.

I’d Rather Be a Lightning Rod: On Ken Kesey, Life, and the Landscapes of the Pacific Northwest

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I have been living in a room in a house perched on a cliff that overlooks the Oregon coast for almost a month. A window with an ocean view spans the width of my desk, but when I sit down to write, I often find myself doing anything but that. I stare at the sea and the rolling clouds, or follow the beachcombers, the joggers, the surfers, and the fishing vessels further out with the binoculars my aunt uses to spot whales in the winter. The setting is striking to the point of distraction for this city dweller accustomed to skylines punctuated by skyscrapers, to glimpses of rivers from the Manhattan Bridge, to lawns circumscribed by park walls.

In Newport, Oregon, nature dominates. The only depiction of this town I’ve encountered beyond a travel guide is in Jon Raymond’s story “The Coast” from his collection, Livability. Raymond’s eye is attuned to the landscape of the Pacific Northwest. In his story, he describes the coastline in quadrants and colors as if he’s painting: “The wind was blustery and the sky was all over the place–dark in one quadrant and pale blue in another, with splashes of magenta, orange, and streaks of hot pink in the lower regions. The billowing cumulus clouds gliding over the ocean were like slow-moving buildings of water and air. I skirted the edge of the tide, avoiding heaps of bullwhip kelp and seagull carcasses and blobs of broken jellyfish.” The sea, the wind, and labile sky capture the tableau precisely.

The first few days after I arrived, I found myself spouting dumbfounded phrases such as, “The clouds! The mountains! Like a painting!” as if I were severely nature deprived. I’m sure I sounded like the equivalent of a yokel visiting the city, jaw dropping at the sight of yellow taxi-filled roads and towering buildings–just like the movies! I am smitten with the sea lions, the sand dunes, the washed up bivalves and cracked crab shells that litter the beach. The open skies have cleared the smog in my mind. The landscape works its way into my stories and it infuses my essays (as you can see).

It’s difficult not to notice the differences here, and not respond to the surroundings. When I was at the local library, a man found a pocket knife on the floor and turned it in to the lost and found. Hitchhikers walk backward along the coastal highway, carrying sleeping bags nestled atop oversize backpacks. More abundant and less haggard than the east coast variety, they make me think of ranch hand and expert hitchhiker Sissy Hankshaw and her magnificent thumbs, straight out of Even Cowgirls Get the Blues. The fluorescent red and green sea anemones in the tide pools mimic the Day-Glo hues made popular by the Merry Pranksters, so it’s fitting that head Prankster Ken Kesey grew up in Oregon, just outside of Eugene.

I took up with Tom Wolfe’s Electric Kool-Aid Acid Test out of curiosity about Kesey, his writing, and his influence on the sixties West Coast acid scene. Wolfe emphasizes Kesey’s tremendous physicality and soft country drawl, which owe much to his upbringing in Oregon’s outdoors. Kesey’s father “had started him and his younger brother … shooting and fishing and swimming as early as they could in any way manage it, also boxing, running, wrestling, plunging down the rapids of the Williamette and the McKenzie Rivers, on inner-tube rafts, with lots of rocks and water and sartin’ death foamin’ down below.”  He came off as a country boy, but when he moved to San Francisco as a Stegner fellow, his physical prowess and charisma made him popular with the bohemian literary set.

The Northwestern terrain also infused Kesey’s fiction. His second novel, Sometimes a Great Notion, is set in a logging town near the Oregon coast where a family of loggers break from the unionized strikers by supplying lumber to a local mill. Kesey researched the book while living in Florence, a coastal town just south of Newport. He lived the logging life, in a way. By day he rode in the pick-up trucks that bussed loggers to and from their camps and by night he hung out at the loggers’ watering holes. The novel opens already anchored in the landscape, the pages suffused by passages describing the contours of the land:  “ Along the western slopes of the Oregon Coastal Range … come look: the hysterical crashing of tributaries as they merge into the Wakonda Auga River … ”

After Kesey wrote the novel, his artistic focus shifted from writing to life. He devoted himself to living in the moment, to making experimental movies and bringing fantasies to life, to reaching higher states of awareness tripping on LSD.  “I’d rather be a lightning rod than a seismograph,” was Kesey’s reason for quitting writing. Wolfe adds, “He talked about something called the Acid Test and forms of expression in which there would be no separation between himself and the audience. It would be all one experience, with all the senses opened wide, words music, lights, sounds, touch–lightning–” Even Kesey’s metaphors reference the outdoors–acting as a conduit for electricity rather than recording the earth’s movements with ink.

A Harvard undergrad on the staff of the campus literary magazine in 1970 spoke to The New York Times about her extracurricular reading habits and the irresistible appeal of The Electric Kool-Aid Acid Test. She said, “Tom Wolfe’s Electric Kool-Air [sic] Acid Test really gets to some of us. I had to stop reading it half way through because I never would have gotten my work done. I wanted to freak out on acid, and like Ken Kesey take a bus onto the road and just live!”

How does one get work done when it becomes obvious there are fantasies to enact, road trips to take, rules to flout? How does one write when nature, and life, beckon from beyond the window? Put the book down. Close the blinds. Or don’t. There’s a delicate balance to strike. Even Kesey, magnificent lightening rod that he was, wrote more books after the acid tests ended. And without Tom Wolfe’s assemblage of interviews and documentation of the Pranskters’ escapades in The Electric Kool-Aid Acid Test, I would know far less about Kesey, his medium, and his life. I know I will soon pack my bags and go home. But I am lucky to have witnessed the landscape, and to know there is the possibility of return.

[Image credit: Anne Yoder]

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