In the history of most relaxing vacations, Goethe’s 1775 trip to Switzerland gotta be up there:
if you don’t make a decisive break with your past did you even go on vacation??
Poe told us to expect [humiliation], too. When, near the end of his career, he laid out a formula for making great art, he said:
If any ambitious man have a fancy to revolutionize, at one effort, the universal world of human thought, human opinion, and human sentiment, the opportunity is his own—the road to immortal renown lies straight, open, and unencumbered before him. All that he has to do is to write and publish a very little book. Its title should be simple— a few plain words—“My Heart Laid Bare.”
There’s just one catch, Poe said: “this little book must be true to its title.” And that is why “no man ever will dare write it.”
“No man could write it, even if he dared,” Poe concluded. “The paper would shrivel and blaze at every touch of the fiery pen.”
The ten year anniversary of Helytimes rolled around without our really noticing. We started this website* in February 2012. The posts from that month are as clear a reflection as there is of the idea (extinct links and lost images are a curse but come w/t/territory).
There wasn’t a master plan. “I should know something about writing for the Internet.” The directness is powerful (and frightening): what writer of the past wouldn’t have dreamed of an instantaneous worldwide publishing platform you could control? A piece published on Helytimes generates a link that’s as accessible as a link to The New York Times. How could we not try that? Authors had websites; I’d published two books and hoped to do more. The magic of putting up pieces that entered the great Google library, the creation of a personal wondermuseum, it seemed fun.
A strong sense memory lingers about the day of origin: I was in my office on the TV show The Office. Across the hall was my college Alison Silverman. Our offices were in an annex trailer in the parking lot, which often roasted in the sun. Inside between our offices was a treadmill people sometimes used. That was a funny time and place. I told Alison I was thinking of starting a blog and I remember not having any reaction at all. It was like I said I’d had a salad for lunch. But what was I expecting?
WordPress provided the structure. I’m not sure I’d recommend WordPress, it feels flimsy, it feels like it could collapse tomorrow. GoDaddy sold us the URL. Although GoDaddy’s name and TV ads make it seem ridiculous, they are really dependable, we’ve never had a problem. I copied a simple design template my cousin was using and off we went.
Since then we’ve published 1,624 posts. Some of the most popular are:
– a guest post by Hayes about a local political issue, No on Measure S (No prevailed, and thank goodness). This post shows the value of possessing an easy distribution platform
– a post about the alleged subject of Gordon Lightfoot’s song Sundown. People Google this person and find the site, it’s celebrity gossip.
– a comparison of the UK in size to California. Another Google inbounder.
– Mountaineering movies on Netflix (needs updating, The Alpinist and 14 Peaks both great)
– an investigation of whether the last joke Abraham Lincoln heard was funny
– a consideration of how a mosaic at Disney World was made by Hanns Scharff, one of the Luftwaffe’s top interrogators (and revealing insights in interrogation)
– a look into the darkness of Donald Trump’s father and the destruction of Coney Island
Anything about Warren Buffett and Charlie Munger will pop.
We consider Record Group 80 to be kind of a signature post.
Ten years as an amount of time is significant. We once heard an interview with Joseph Campbell, he was talking about a young student who was asking Campbell about whether he thought he, the student, could make it as a writer.
Well, can you go ten years without making it?
was Campbell’s question. A good question to ask.
What would “making it” mean? We don’t profit off this website, but it’s very valuable as as storehouse of material that caught our attention. And it feels contributive. It’s brought about many connections and friendships of great value, even if you can’t put a price on them.
Once I was talking to a guy who knew a thing or two about SEO and metrics and online business about the site. He suggested we should pick any one specific niche and go deep, make that our thing. For instance, “Navy photos.” But that’s not the idea (and it would be boring).
Once I was talking to a successful Hollywood type guy who’s a reader of Helytimes. I asked him what I should do to get more readers. He looked at me like I was kind of an idiot.
Write about the Kardashians
That’s not the idea here either.
This isn’t any kind of business. During the lifespan of this website we published a book, wrote several other books, wrote lots of television, co-hosted hundreds of episodes of The Great Debates. This is a straightup side project. But sometimes that’s where the life is.
My life times out so my growing up parallels the Internet growing up. My age 18 was close to the Internet’s age 18. So I followed and tracked the rise of what we unfortunately have to call blogging.
Andrew Sullivan was an early one. Blogging eventually burned him out and he had to stop. Matt Yglesias was my near contemporary in college (I don’t think I ever met him). He seems built to be a blogger and has made a job of it. That takes stamina, focus, and drive we don’t have.
Hot takes aren’t the game around here. Unless they’re hot takes on something from like the 15th century.
We maintain this site out of desire to clean out the brain-attic, to keep an independent publishing vector open, to settle anything that’s gnawing at us, to share (and clear the mind of) passions, obsessions, curiosities and discoveries.
Over the years we’ve had a worldwide readership, lured in some surprising customers, lost one contributor to death by tragedy, and had some touching comments. The funniest people reach out to us. Usually about content we never would’ve thought anyone would care about.
We made a scratchmark on the cave wall, which, what else are we here for?
So, onward! Thanks for reading, we really appreciate you.
* the word blog just isn’t a winner, is it folks?
Steel typically writes for 20–22 hours a day when working on a book, she says. Sometimes, she goes past the 24-hour mark. Someone who works for her will often put a plate of food on her desk that she’ll realize she’s eaten only when she looks over and notices the plate is empty, she says.
Amazing. “Danielle Steel on Starting Her Day Off with a Virgin Mojito” by Lane Florsheim in WSJ.
In one famous Brando origin story, Adler asked her students to pretend to be chickens as an atomic bomb drops. While everyone else was flapping in a panic, Brando peaceably squatted down. “I’m laying an egg,” he told Adler. “What does a chicken know of bombs?”
reading Alexandra Schwartz on Isaac Butler’s book about method acting in The New Yorker. A shifting concept, perhaps we can agree?
“the Method” is describes a set of techniques, practices, and concepts for helping actors achieve emotional life and truth in their performances. The Method is based on the teachings of Stanislavski, developed at the Moscow Art Theater, interpreted in the United States by teachers like Lee Strasburg, Stella Adler, and Sanford Meisner and by actors like Marlon Brando and Marilyn Monroe.
Defining things is hard, I’m already quibbling with myself!
Maybe Wikipedia’s is better, Wikipedia really is a miracle, isn’t it folks? Sainthood for Jimmy Wales.
Some of what the Method seems to get at, like chunks of reality, precision of memory, the blend of emotional and physical experience, reminded me of Hemingway on focusing as specifically as possible on the connection of sensation to specific detail. What did you feel, what exactly made you feel it in the moment?
MICE: How can a writer train himself?
Y.C.: Watch what happens today. If we get into a fish see exact it is that everyone does. If you get a kick out of it while he is jumping remember back until you see exactly what the action was that gave you that emotion. Whether it was the rising of the line from the water and the way it tightened like a fiddle string until drops started from it, or the way he smashed and threw water when he jumped. Remember what the noises were and what was said. Find what gave you the emotion, what the action was that gave you the excitement. Then write it down making it clear so the reader will see it too and have the same feeling you had. Thatʼs a five finger exercise.
Y.C.: Listen now. When people talk listen completely. Donʼt be thinking what youʼre going to say. Most people never listen. Nor do they observe. You should be able to go into a room and when you come out know everything that you saw there and not only that. If that room gave you any feeling you should know exactly what it was that gave you that feeling. Try that for practice. When youʼre in town stand outside the theatre and see how people differ in the way they get out of taxis or motor cars. There are a thousand ways to practice. And always think of other people.
more on that.
In order to be maximally compelling, protagonists should be active, the principal causer of effects in the plot that follows. Textual analyses reveal the words “do”, “need” and “want” appear twice as often in novels that feature in the New York Times bestseller list as those that don’t. A character in a drama who isn’t reacting, making decisions, choosing and trying somehow to impose control on the chaos isn’t truly a protagonist. Without action, the answer to the dramatic question never really changes.
That’s from The Science of Storytelling by Will Storr. On first attempt I put this book down in frustration, because the book itself is not framed in the form of a story. But encouraged by Rob Henderson I picked it up again and found a lot of value in it. Storr talks about how stories are framed around a central question: who is this person? He gives a good illustration from Lawrence of Arabia:
When he finally makes it out of the desert, to the shores of the Suez Canal, a motorcyclist on the opposite bank spots him. Curious about this strange white man in Arab robes emerging from the desert, the motorcyclist shouts across the water, “Who are you? Who are you?” As the question fills the baking air, the camera freezes on Lawrence’s troubled face.
Storr also spends a good deal of time with Ishiguro’s novel The Remains of The Day, a story that’s heartbreaking even when summarized. We the reader, and Stevens the butler, are both asking who this man is?
I found Storr’s discussion of the “ignition point” of a story, and his “sacred flaw” method to developing stories to both be thought-provoking and potentially block-breaking for a storyteller.
The textual analysis bit comes from The Bestseller Code: Anatomy of the Blockbuster Novel by Jodie Archer and Matthew L. Jockers. This book is a tiny bit ridiculous: the authors fed lots of books into some kind of computer algorithm they’ve got rigged up at Stanford, and produce charts like this one:
The Y axis there is “emotion.” While I might hesitate to trust the suggested precision of a graph like this on something as squishy as storytelling, the basic insight – that thrilling stories have a lot of ups and downs – is valuable and rings true.
More on key words from bestsellers:
Both Storr and Archer & Jockers cite the work of Christopher Booker, who wrote a titanic volume called The Seven Basic Plots. When Booker’s book dropped, I was working as a professional TV storyteller and amateur novelist, and I bought it, and set down to study, eager to crack the code.
Booker’s seven categories were kinda wide, though. One of them, for instance, is comedy. I grew suspicious. When I got to this part, I laughed out loud:
I felt like Jim Carrey’s Andy Kaufman in Man on the Moon when he realizes the Eastern cancer treatment he’s gone for is just some cheap fakery. Really Booker? Did you miss the FIRST FRAME OF THE MOVIE?!
Too funny. Booker’s work wasn’t in vain, there was still much to consider, but it did reveal the somewhat ridiculous nature of trying to distill stories into simple forms. There will always be tricky exceptions, they escape from containment like mercury.
Guides to story and storytelling remain a passion. The urge to quantify these things seems to drive people half-mad. We all know what stories are, we know one when we hear one, and yet they’re surprisingly hard to pin down.
It occurred to me that NEED WANT DO could be a way to map out your day. You might wake up, for instance, and think:
- I NEED: breakfast burrito from Cofax
- I WANT: breakfast burrito from Cofax
- I will DO: go get breakfast burrito from Cofax.
It says in your biographies that you were a grouse beater. Please explain.
My first summer after leaving school I worked for the Queen Mother at Balmoral Castle, where the royal family spend their summer holidays. In those days they used to recruit local students to be grouse beaters. The royal family would invite people to shoot on their estate. The Queen Mother and her guests would get into Land Rovers with shotguns and whiskey and drive over bits of the moor from shooting butt to shooting butt. That’s where they would aim and shoot. Fifteen of us would walk in formation across the moor, spaced about a hundred yards apart in the heather. The grouse live in the heather, and they hear us coming, and they hop. By the time we arrive at the butts, all of the grouse in the vicinity have accumulated and the Queen Mum and her friends are waiting with shotguns. Around the butts there’s no heather, so the grouse have got no choice but to fly up. Then the shooting starts. And then we walk to the next butt. It’s a bit like golf.
Did you meet the Queen Mother?
Yes, quite regularly. Once she came round to our quarters, frighteningly, when there was only me and this other girl there. We didn’t know what on earth to do. We had a little chat, and she drove off again. But it was very informal. You’d often see her on the moors, though she herself didn’t shoot. I think there was a lot of alcohol consumed and it was all very chummy.
from his Paris Review interview. How about this?
I was at a writers’ festival in Australia, sitting on a beach with Michael Ondaatje, Victoria Glendinning, Robert McCrum, and a Dutch writer named Judith Hertzberg. We were playing a semi-serious game of trying to find a title for my soon-to-be-completed novel. Michael Ondaatje suggested Sirloin: A Juicy Tale. It was on that level. I kept explaining that it had to do with this butler. Then Judith Hertzberg mentioned a phrase of Freud’s, Tagesreste, which he used to refer to dreams, which is something like “debris of the day.” When she translated it off the top of her head, it came out as “remains of the day.” It seemed to me right in terms of atmosphere.
Was there ever a better charity sermon preached in the world than Dickens’s “Christmas Carol”? I believe it occasioned immense hospitality throughout England; was the means of lighting up hundreds of kind fires at Christmas time; caused a wonderful outpouring of Christmas good feeling, of Christmas punch-brewing; an awful slaughter of Christmas turkeys, and roasting and basting of Christmas beef. As for this man’s love of children, that amiable organ at the back of his honest head must be perfectly monstrous. All children ought to love him. I know two that do, and read his books ten times for once that they peruse the dismal preachments of their father. I know one who, when she is happy, reads “Nicholas Nickleby”; when she is unhappy, reads “Nicholas Nickleby”; when she is tired, reads “Nicholas Nickleby”; when she is in bed, reads “Nicholas Nickleby”; when she has nothing to do, reads “Nicholas Nickleby”; and when she has finished the book, reads “Nicholas Nickleby” over again. This candid young critic, at ten years of age, said, “I like Mr. Dickens’s books much better than your books, papa”; and frequently expressed her desire that the latter author should write a book like one of Mr. Dickens’s books. Who can? Every man must say his own thoughts in his own voice, in his own way; lucky is he who has such a charming gift of nature as this, which brings all the children in the world trooping to him, and being fond of him.
so said William Makepeace Thackeray, arguing for a connection between humorous writers and “the sweet mission” of love and tenderness, in his 1852 speech “On Charity and Humor.”
A footnote adds:
Note 2. This generous tribute to Dickens, at the time of the greatest rivalry between him and Thackeray, has been much admired and often quoted to Thackeray’s credit.
I was listening to Chuck Palahniuk on Bret Easton Ellis podcast (is this the second post in a row where I mention this podcast? It’s not for everybody but I’m into it!)
You know, if somebody had given David Foster Wallace or Sylvia Plath fourteen issues of Spider-Man to do, they’d both still be alive
says Palahniuk early in the episode. An outrageous claim. But hey, I guess outrageous claims were what I was signing up for. Would ❤️ to read a Sylvia Plath Spider-man series.
Palahniuk isn’t a writer I’ve read much of, gross out, extremist fiction not being my kinda milkshake. But when Palahniuk mentioned that he’d written a travel book about Portland, that got my attention. Travel books I’m into. So I got Palahniuk’s travel book, fugitives and refugees: A Walk In Portland, Oregon, which it turns out is part of a series Crown put out, Crown Journeys, where writers do a walking tour – sometimes pretty literally, sometimes in quotes – of a place they know well.
Turns out I’d read one of these already, Frank Conroy’s Time and Tide: A Walk Through Nantucket. I’d read that a few years back during a weeklong stay on Nantucket, but I remember nothing from it. The book about Nantucket I like is Charles Olson’s Call Me Ishmael, where I learned there was a neighborhood on Nantucket called New Guinea, full of people of color of various kinds. Nantucket’s worth a post of her own someday.
Stuck homebound, I got a bunch of these Crown Journeys books. An appealing quality of them is their size, just right to stuff in a bag:
Let’s start with Palahniuk’s. It’s a travel guide plus a memoir, the voice is strong and he shows, even rubs your face in, the weirdness of that town, the grubbiness and beauty all swished up together.
Katherine’s theory is that everyone looking to make a new life migrates west, across America to the Pacific Ocean. Once there, the cheapest city where they can life is Portland. This gives us the most cracked of the crackpots. The misfits among misfits.
The memory and madness:
Days, I’m working as a messenger, delivering advertising proofs form the Oregonian newspaper. Nights, I wash dishes at Jonah’s seafood restaurant. My roommates come home, and we throw food at each other. One night, cherry pie, big sticky red handfuls of it. We’re eighteen years old. Legal adults. So we’re stoned and drinking champagne every night, microwaving our escargot. Living it up.
Palahniuk is clearly more into the sex trade, underground (literal and figurative) side of the town, but he covers the gardens too, along with the Self Cleaning House and Stark’s Vacuum Cleaner Museum and the standout landmarks, along with a semi-autobiography full of vivid, intense incidents, like a beating and a moment with the mother of a dying hospital patient.
Although this book was published in 2003, reading it gives insight into why Portland is the arena of choice for “antifa” and far-night political violence LARPers and a fracture zone of America 2020.
Next up, Roy Blount Jr.’s Feet On The Street: Rambles Around New Orleans.
This one’s the best organized, divided into seven rambles: Orientation, Wetness, Oysters, Color, Food, Desire, Friends. It’s full of jokes and stories and anecdote. Of all the Crown Journeys I read, this one’s unsurprisingly the most focused on food. How can you not want a “roast beef sandwich with debris” from Mothers, or a pan-fried trout topped with “muddy water” sauce: chicken broth, garlic, anchovies, and gutted jalapeños and sprinkled with parmesan cheese.”
Blout’s book is full of autobiography too, quoting from letters he wrote as a young man, describing nights and dinners, what New Orleans meant to him as a young man and what he found on frequent returns.
I’ll bet I have been up in N. O. at every hour in every season,
he says, a cool claim.
Towards the end of the book, Blount Jr. turns kind of reflective, ruminating with some regret on an incident of insensitivity, somewhere between misunderstanding and even cruelty, towards a homosexual friend that ended badly. There’s an air of regret to it, and maybe that’s part of New Orleans, too. Feet On The Street might work best of all of these, as a book. I’ve read a lot of guides to New Orleans and this one’s a fine addition to the canon.
Blount’s a figure who doesn’t seem to quite exist as much any more, the sort of literary semi-comedian raconteur, where books are just one expression of a humorous personality. Christopher Buckley’s another guy like that.
Washington Schlepped Here is, in my opinion, the worst titled of these books. It’s a pun, first of all, but second, George Washington simply never “schlepped.” Didn’t happen. He was not a schlepper. Buckley spends a paragraph or two dealing with the title, although he seems quite pleased with it. “Pleased with himself” might be the most accurate criticism you could make of Christopher Buckley, but it’s hard not to be a little won over by his privileged charm.
Buckley’s Washington is strictly the Washington of our nation’s capital. You won’t find anything in here about the majority black population of that city. How can you write a book about Washington that doesn’t mention Ben’s Chili Bowl? E. J. Applewhite’s Washington Itself, which Buckley quotes from copiously, is a richer one volume guide to the city. But there’s a Yale-grade wit to Buckley, I won’t deny it.
I’ll let you prowl about. There’s a lot to see: the Old Senate Chamber, Statuary Hall, the Crypt, the Old Supreme Court Chamber, the Hall of Columns, along with enough murals, portraits, busts and bas reliefs to keep you going “Huh” for hours.”
Buckley takes the walking tour conceit the most seriously of any of the writers. There’s a bummer element hanging over this book, as Buckley keeps pointing out how post-9/11 security procedures and jersey barriers have made wandering the capital city less free that in it used to be. There’s a bit of filler to this one, too, as if Buckley’s sort of just taking the Wikipedia page to certain buildings and adding a few quips. A few pages are devoted to musing on specific works in specific Mall art museums. Several of the jokes rely casual shared stereotypes about politics, like that Republicans like martinis, that now feel like they’re from another universe (the book was published in 2003).
The best parts of this one come from Jeanne Fogle’s book Proximity to Power and Tony Pitch’s walking tour, both centered on Lafayette Square, which bring to life people who lived here. Places are only so interesting. It’s people that get your attention.
James M. McPherson’s Hallowed Ground: A Walk at Gettysburg is just terrific. A concise, powerful tour of the battlefield, rich in detail and incident, you’re clearly in the hands of a master storyteller who knows his stuff deeply. One of McPherson’s gifts is to take us not just to the battle as it happened, but to the battlefield as it’s remembered and preserved. McPherson talks about the way the woodlands on the battlefield would’ve been more thinned out in 1863, who could see what from where, how small features of geography shaped those three days. On the artillery barrage that preceded Pickett’s Charge:
Confederate gunners failed to realize the inaccuracy of their fire because the smoke from all these guns hung in the calm, humid air and obscured their view. Several explanations for this Confederate overshooting have been offered. One theory is that as the gun barrels heated up, the powder exploded with greater force. Another is that the recoil scarred the ground, lowering the carriage trails and elevating the barrels ever so slight. The most ingenious explanation grows out of an explosion at the Richmond arsenal in March that took it out of production for several weeks. The Army of Northern Virginia had to depend on arsenals farther south for production of many of the shells for the invasion of Pennsylvania. Confederate gunners did not realize that fuses on these shells burned more slowly than those from the Richmond arsenal; thus the shells whose fused they tried to time for explosion above front-line Union troops, showering them with lethal shrapnel, exploded a split second too late, after the shells had passed over.
On such things does history turn? McPherson tells us details like that Company F of the Twenty-Sixth North Carolina included four sets of twins, every one of whom was killed or wounded in the battle.
I’ve been to Gettysburg twice, and was pretty familiar with the shape of the events and landscape. But I’d wager this book would provide a pretty clear and readable introduction to the battle, even if you didn’t know very much about it. Certainly it’s much easier to comprehend than Shelby Foote’s Stars In The Courses, another short volume about Gettysburg, which has a poetry to it, but good luck using it to decipher what happened where.
Kinky is not a word that I love, and comedy music makes me uncomfortable. So I’ve never gotten too into Kinky Friedman. But The Great Psychedelic Armadillo Picnic: a “walk” in Austin is pretty companionable. Kinky is friends with George W. Bush, and has nothing bad to say about him (this one was published in 2004, so pre Iraq catastrophe).
There are a couple of notable omissions in this book. The coolest part of Austin to me is Rainey Street, but that section’s conversion of porched houses into bars may post-date this work. There’s also nothing about the Texas State Cemetery, which I believe is unique in the United States and tells you quite a bit about the values of Texas. Maybe worth a book of its own. Also, without explanation, Friedman tosses off that he’s never been inside the Texas Capitol Building, which is the centerpiece of Austin.
Is Austin the place of all these that has changed the most in the last twenty years?
Still, you’re on a fun ramble with a personality who’s committed to entertaining. A thin volume, thick with schtick. I really liked Kinky’s introduction to Texas history, and the stuff about the ’70s music scene. If you think calling a ghost an “Apparition-American” is funny, you’ll enjoy this book. Really, any small book about Austin in this time of home-bounditude would’ve been appreciated by me.
Compact, entertaining guides to places, by writers who really have a voice – there should be more books like this. I ate these up like cookies. Surely Boston, Los Angeles/Hollywood, Seattle, San Francisco, Savannah, Nashville, Philadelphia, Kansas City, Honolulu, Charleston could all use books like this. Brooklyn?
Hell I’d even read one about San Diego.
This is a book about a scene, and the scene was Key West in the late ’60s-’70s, centered on Thomas McGuane, Jim Harrison, Hunter Thompson, Jimmy Buffett, and some lesser known but memorable characters. I tried to think of other books about scenes, and came up with Easy Riders, Raging Bulls by Peter Biskind, and maybe Astral Weeks: A Secret History of 1968 by Ryan H. Walsh, about Van Morrison’s Boston. Then of course there’s Hemingway’s A Moveable Feast, referenced here in the subtitle, a mean-spirited but often beautiful book about 1920s Paris.
I was drawn to this book after I heard Walter Kirn talking about it on Bret Easton Ellis podcast (McGuane is Kirn’s ex-father-in-law, which must be one of life’s more interesting relationships). I’ve been drawn lately to books about the actual practicalities of the writing life. How do other writers do it? How do they organize their day? What time do they get to work? What do they eat and drink? How do they avoid distraction?
From this book we learn that Jim Harrison worked until 5pm, not 4:59 but 5pm, after which he cut loose. McGuane was more disciplined, even hermitish for a time (while still getting plenty of fishing done) but eventually temptation took over, he started partying with the boys, eventually was given the chance to direct the movie from his novel 92 In The Shade. That’s when things got really crazy. The movie was not a big success.
“The Sixties” (the craziest excesses bled well into the ’70s) musta really been something.
On page one of this book I felt there was an error:
That’s not the line. The line (from the Poetry Foundation) is:
The best laid schemes o’ Mice an’ MenGang aft agley,
Part of what these writers found special about Key West, beyond the Hemingway and Tennessee Williams legends, was it just wasn’t a regular, straight and narrow place. Being a writer is a queer job, someone’s liable to wonder what it is you do all day. In Key West, that wasn’t a problem.
Key West was so irregular and libertine that you could get away with the apparent layaboutism of the writer’s life.
Some years ago I was writing a TV pilot I’d pitched called Florida Courthouse. I went down to Florida to do some research, and people kept telling me about Key West, making it sound like Florida’s Florida. Down I went on that fantastic drive where you feel like you’re flying, over Pigeon Key, surely one of the cooler drives in the USA if not the world.
The town I found at the end of the road was truly different. Louche, kind of disgusting, and there was an element of tourists chasing a Buffett fantasy. Some of the people I encountered seemed like untrustworthy semi-pirates, and some put themselves way out to help a stranger. You’re literally and figuratively way out there, halfway to Havana. The old houses, the chickens wandering, the cemetery, the heat and the shore and the breeze and the old fort and the general sense of license and liberty has an intoxicating quality. There was a slight element of forced fun, and trying to capture some spirit that may have existed mostly in legend. McKeen captures that aspect in his book:
Like McGuane, I found the mornings in Key West to be the best attraction. Quiet, promising, unbothered, potentially productive. Then in the afternoon you could go out and see what trouble was to be found. Somebody introduced me to a former sheriff of Key West, who helped me understand his philosophy of law enforcement: “look, you can’t put that much law on people if it’s not in their hearts.”
I enjoyed my time there in this salty beachside min-New Orleans and hope to return some day, although I don’t really think I’m a Key West person in my heart. I went looking for photos from that trip, and one I found was of the Audubon House.
After finishing this book I was recounting some of the stories to my wife and we put on Jimmy Buffett radio, and that led of course to drinking a bunch of margaritas and I woke up hungover.
I rate this book: four and a half margaritas.
Alcohol was his salve against a modern world he saw as a conspiracy of mediocrity on its ruling levels. Life was most bearable, he repeated, at its simplest: fishing, hunting, talking biggity in a cane chair on a board sidewalk, or horse-trading, gossiping.
Bill spoke rarely about writing, but when he did he said he had no method, no formula. He started with some local event, a well-known face, a sudden reaction to a joke or an incident. “And just let the story carry itself. I walk along behind and write down what happens.”
Q: Sir, I would like to know exactly what it was that inspired you to become a writer.
A: Well, I probably was born with the liking for inventing stories. I took it up in 1920. I lived in New Orleans, I was working for a bootlegger. He had a launch that I would take down the Pontchartrain into the gulf to an island where the run, the green rum, would be brought up from Cuba and buried, and we would dig it up and bring it back to New Orleans, and he would make scotch or gin or whatever he wanted. He had the bottles labeled and everything. And I would get a hundred dollars a trip for that, and I didn’t need much money, so I would get along until I ran out of money again. And I met Sherwood Anderson by chance, and we took to each other from the first. I’d meet him in the afternoon, we would walk and he would talk and I would listen. In the evening we would go somewhere to a speakeasy and drink, and he would talk and I would listen. The next morning he would say, “Well I have to work in the morning,” so I wouldn’t see him until the next afternoon. And I thought if that’s the sort of life writers lead, that’s the life for me. So I wrote a book and, as soon as I started, I found out it was fun. And I hand’t seen him and Mrs. Anderson for some time until I met her on the street, and she said, “Are you mad at us?” and I said, “No, ma’am, I’m writing a book,” and she said, “Good Lord!” I saw her again, still having fun writing the book, and she said, “Do you want Sherwood to see your book when you finish it?” and I said, “Well, I hadn’t thought about it.” She said, “Well, he will make a trade with you; if he don’t have to read that book, he will tell his publisher to take it.” I said, “Done!” So I finished the book and he told Liveright to take it and Liveright took it. And that was how I became a writer – that was the mechanics of it.
Stephen Longstreet reports on Faulkner in Hollywood, specifically To Have and Have Not:
Several other writers contributed, but Bill turned out the most pages, even if they were not all used. This made Bill a problem child.
The unofficial Writers’ Guild strawboss on the lot came to me.
“Faulkner is turning out too many pages. He sits up all night sometimes writing and turns in fifty to sixty pages in the morning. Try and speak to him.”
This book was great. A kind of roaming meditation on the special poignancy of urban loneliness, which is so strange and powerful because, of course, you’re around other people, even in your solitude. Also a kind of biography of Edward Hopper, Andy Warhol, Henry Darger, and David Wojnarowicz. (The last one I was least familiar with.)
After his mother died, Andy Warhol told people she was shopping at Bloomingdales.
Even the typeface and layout of this book is pleasing. Henry Darger’s frustrations:
A conversation with Warhol’s nephew:
As a young person I lived in New York City, and can remember from time to time feeling loneliness there. A loneliness that was almost pleasurable. Of course this comes nowhere close to the form of loneliness you might feel if you were gay and alone and dying of plague. But I felt I could connect to the feeling explored here. Laing blends her own sensations through in a way that creates something special.
When I think about loneliness in New York, the work of art that comes quickest to mind might be Nico’s These Days. I listen and I’m like yes, that’s the feeling.
This one didn’t quite come off as much for me, maybe because I read it second, or maybe just because drinking is sort of just a sorry, depressive subject. A drunk when he’s drunk just isn’t that interesting. Laing herself (if I read the book right) isn’t an alcoholic, or even a beyond-standard English level drinker, although she discusses a history in an alcoholic household. But I didn’t feel the personal connection in quite the way I did with loneliness.
Writing in the mornings and swimming and indulging yourself in the afternoons – ideal lifestyle?
Hemingway is put on a “low alcohol diet (five ounces of whiskey and one glass of wine a day, a letter reports.”
in 1957 Tennessee went into psychoanalysis, and also spent a spell in what he described as a “plush-lined loony-bin” – drying out, or trying to. The seriousness with which he approached this endeavour can be gauged from his notebooks, in which he confesses day after day to “drinking a bit more than my quota.” One laconic itemisation includes: “Two Scotches at bar. 3 drinks in morning. A daiquiri at Dirty Dick’s, 3 glasses of red wine at lunch at 3 of wine at dinner – Also two Seconals so far, and a green tranquilizer whose name I do not know and a yellow one I think is called reseperine or something like that.”
The therapist was also trying to cure him of homosexuality.
I liked the parts were Laing describes the wonderful Amtrak tradition of shared tables in the dining car.
A different version of this book could’ve been called Drunk Writers and sold as like a novelty book at Urban Outfitters. Do they still sell books at Urban Outfitters?
The drinker/writer Laing profiles who I knew least about was John Berryman:
Ordered a copy.
Might have to move on to To The River, about Virginia Woolf and the river Ouse.
This is one my favorite books, I’m serious. Shelby Foote is a great interview, obviously, just watch his interviews with Ken Burns. (“Ken, you made me a millionaire,” Shelby reports telling Burns after the series aired.) You may not want to read the whole of Shelby’s three volume Civil War, it can get carried away with the lyrical, and following the geography can be a challenge. But the flavor of it, some of the most vivid moments, and anecdotes, come through in these collected conversations with inquirers over the years.
“You’ve got to remember that the Civil War was as big as life,” he explains. “That’s why no historian has ever done it justice, or ever will. But that’s the glory of it. Take me: I was raised up believing Yankees were a bunch of thieves. But it’s absolutely incredible that a people could fight a Civil War and have so few atrocities.
“Sherman marched with 60,000 men slap across Georgia, then straight up though the Carolinas, burning, looting, doing everything in the world – but I don’t know of a single case of rape. That’s amazing because hatreds run high in civil wars…
There were still a lot of antique virtues around them. Jackson once told a colonel to advance his regiment across a field being riddled by bullets. When the officer protested that nobody could survive out there, Jackson told him he always took care of his wounded and buried his dead. The colonel led his troops into the field.”
Finally treated myself to a few more of these editions. These books are casual and comfortable. They’re collections of interviews from panels, newspapers, magazines, literary journals, conference discussions. Physically they’re just the right size, the printing is quality and the typeface is appealing.
Why not start with another Mississippian, someone Foote had quite a few conversations with himself?
Wow, Walker Percy could converse.
Later, different interview:
Do we dare attempt conversation with the father of them all?
I’ve long found interviews with Faulkner, even stray details from the life of Faulkner, to be more compelling than his fiction. Maybe it’s the appealing lifestyle: courtly freedom, hunting, fishing, and all the whiskey you can handle. The life of an unbothered country squire, preserving a great tradition, going to Hollywood from time to time, turning the places of your boyhood into a world mythology.
We’ll have more to say about the Conversations with Faulkner, deserves its own post! Maybe Percy gets to the heart of it in one of his interviews:
Q: Did you serve a long apprenticeship in becoming a writer?
Percy: Well, I wrote a couple of bad novels which no one wanted to buy. And I can’t imagine anyboy doing anything else. Yes it was a long apprenticeship with some frustration. But I was lucky with the third one, The Moviegoer; so, it wasn’t so bad, I guess.
Q: Had you rather be a writer than a doctor?
Percy: Let’s just say I was the happiest doctor who ever got tuberculosis and was able to quit it. It gave me an excuse to do what I wanted to do. I guess I’m like Faulkner in that respect. You know Faulkner lived for awhile in the French Quarter of New Orleans where he met Sherwood Anderson, and Faulkner used to say if anybody could live like that and get away with it he wanted to live the same way.
For the advanced student:
1966. The Beatles return from the US, having played what will be their “last proper concert,” Candlestick Park, San Francisco, August 29. They have some time off.
For the first time in years, the four of them were able to take a break from being Beatles. With three months free, they could do what they liked. Ringo chose to relax at home with his wife and new baby. John went to Europe to play Private Gripweed in Richard Lester’s film How I Won The War. George flew to Bombay to study yoga and to be taught to play the sitar by Ravi Shankar. This left Paul to his own devices.
For a while he hangs out in London, where he’s surely the most famous person. It gets a tiresome, really. Paul gets the idea of going incognito. He arranges a fake mustache, and fake glasses, and slicks his hair back with Vasoline. He has an Aston Martin DB6 shipped to France, and across the Channel he goes. He drives around France for a bit, relaxing in Paris, sitting in cafes unrecognized. From his hotel window he shoots experimental film of cars passing a gendarme. On he goes.
Upon reaching Bordeaux, he felt a hankering for the night life. Still in disguise, he turned up at a local discothèque, but was refused entry. “I looked like old jerko. ‘No, no monsieur, non’ – you schmuck, we can’t let you in.” So he went back to his hotel and took off his scruffy overcoat, his moustache and his glasses. Then he returned to the disco where he was welcomed with open arms.
I absolutely hoovered up this book. I’ve read a bunch of Beatles books in the last few years: Rob Sheffield’s Dreaming The Beatles, the gossipy The Love You Make by Peter Brown and Steven Gaines, You Never Give Me Your Money by Peter Doggett, about the Beatles post Beatles. This last one may have been the most compelling, even though much of it is patient unraveling of complex business and tax situations (plus anecdotes about decadence.) A tragedy about the years the Beatles spent suing each other. Maybe because how a person handles that kind of stress – the stress of tedious meetings – is more revealing, the personalities really came to life.
You’d think I’d be bored of the Beatles. The facts of the history don’t even interest me that much, and I doubt there’s a Beatles song on my top 100 most played. I’m not that much of a Beatles fan, to be honest, not compared to the psychos. (A funny bit in this book is Craig Brown, saying he’s spent a few years in deep on Beatles books and lore, acknowledging he’s barely scratched the surface of like, people who know every version of the lineup of the Quarrymen.)
We don’t need a recounting of the basic beats of the plot of the Beatles. We know.
Craig Brown goes so far beyond that. He assumes you know the rough outlines, and somehow he breathes new life into these old bones. He makes moments pop. Specimens of time, how far can we go to recapturing them? That’s the real question of this book.
Brown will take an incident – the day Bob Dylan turned the Beatles on to marijuana, for instance – and turn it over from every angle, consider every account. How do we know what we know? Who’s telling us? What was their agenda? How much can they be trusted? The historigraphy, you might say. At the same time, he puts us right there as Brian Epstein looks at himself in the mirror, repeating a single word over and over.
Take Pete Best. You probably know that story, the original drummer, they replaced him with Ringo. The cruelty of how that went down, how the Beatles treated him, shocks here in Brown’s retelling. I didn’t know, for instance, that in 1967 Pete Best tried to kill himself. Brown takes us thereL
He locks the door, blocks any air gaps, places a pillow on the floor in front of the gas fire, and turns on the gas. He is fading way when his brother Rory arrives, smells gas, batters the door down and, screaming “Bloody idiot!” saves his life.
If you want to know what happened to the comedians who had to perform in between the Beatles’ sets on Ed Sullivan, this is the book for you.
Can I reprint all of Chapter 30?
Seems like I’m just approximating picking this book up in a bookshop. What harm in that?
Craig Brown: going on my Role Models and Inspirations board. In a random, unrelated search I learn that he is aunt by marriage to Florence Welch, of Florence + The Machine. That’s the kind of connection Craig Brown would track down and work over for any possible meaning. Maybe there’s something there, maybe he’d discard it to the flotsam of chance, who knows. The point is he’d track it down.
Brown’s 99 Glimpses of Princess Margaret is great too, if you’re into The Crown type stuff.
loving this one. Supposedly the words of Odin himself.
Even Odin gets sloppy sometimes.
Crawford includes the Old Norse, if you need that. I’m not up on my Old Norse, I’m way behind on my Arabic as it is, my French is déchet, my Spanish is worse, most of my Irish is forgotten, but it’s cool to look at some of these syllables.
The people in the psychedelic world had been religious but had always covered it up. There was such a bad odor about being frankly religious. I mean Kesey would refer to Cosmo, meaning God; someone in the group used the word manager. Hugh Romney [a.k.a. Wavy Gravy] used to say, “I’m in the pudding and I’ve met the manager.”
On unusual style / carrying yourself as a reporter:
When I first started at Esquire, I made the mistake of trying to fit in. And given the kind of things I was sent to cover – stock car racing, the Peppermint Lounge, topless restaurants in San Francisco – not only did I not fit in no matter how hard I tried, but I would deprive myself of the opportunity to ask very basic questions that the outsider can ask. You just discover after awhile that people like to be asked questions they know the answers to.
be an odd, eccentric character… people will volunteer information to you
On American literature:
In France they discovered Faulkner – not as we would, as a very complex and somewhat arty writer, but as a primitive who had barely emerged from the ooze, somehow, to write.
At the same time they were admiring the energetic, classless and low-rent, rude, animal side of American art, our artists were striving like mad to shed all of that and to stop being hicks and rustics.
re: The Painted Word and From Bauhaus to Our House
I want people to pay attention to what I think is my sole contribution in these areas – showing how certain fashions, certain styles, certain trends come about. They’re not like the weather. Most of our critics and historians seem to think that styles are like Bermuda highs. That it’s the spirit of the age and so cosmic in nature that you don’t have to think about how it happened. You just note that it happened, and if the weather is serious enough, you bow down. What I keep saying is that styles are created by people. And the task of a historian – which is all I picture myself as in these books – is to find out who these people are and what the competitions were that brought the styles out.
On advice to young journalists:
You should get up your courage and approach the biggest magazine you can think of that might be interested in the subject. Approach a junior editor rather than the man at the top, because the junior editors are in competition with one another to discover new writers. Even if you’ve already written it, present the story idea to the editor, because editors like to feel that they’re part of the creative process. Wait a decent interval of about two weeks and then send them a manuscript. Magazines will be in a receptive mood if you have approached them ahead of time. They’ll want it to be good, they’ll want to buy it, and they’ll want it to be a success. There’s a continual shortage of good writers and good journalists. It’s really not an overcrowded field because there’s not that much talent to go around. A lot of it is having the determination and perseverance to do the reporting.
There are several references to an article I’m not sure I’d read before, about carrier pilots operating off the USS Coral Sea, dodging missiles over North Vietnam, “The Truest Sport: Jousting with Sam and Charlie,” which you can read here on Esquire’s website.
Status competition, that’s what interests Wolfe.
Making writing appear spontaneous:
I wanted the writing to appear buoyant, free and easy, spontaneous. Creating the effect of spontaneity in writing is one of the most difficult and artificial things you can do. I was much relieved to learn that Celine used to spend four or five years rewriting his novels in order to achieve the effect of someone just sitting down across the table from you, spouting up the story of his life. Writing is an extremely artificial business: it’s artificial by its very nature – you’re taking sounds and converting them into symbols on a page. To make that transference from one sense to another and reinvest the words with vigor and rhythm and spontaneity is quite a feat.
my intention, my hope, was always to get inside of these people, inside their central nervous systems, and present their experience in print from the inside.
[after he wrote an attack on The New Yorker, and everybody came after him]
I suddenly found myself denounced by the likes of Joseph Alsop, Walter Lippman (he called me an ass in print), Murray Kempton, a distinguished columnist for the New York Post. Richard Goodwin called up from the White House to denounce me; E. B. White; even J. D. Salinger, whom the press hadn’t heard from for years, sent in a telegram denouncing me as a yellow journalist. I really felt that perhaps the world was coming to an end. All these eminent people descended upon me, and I felt the sky was falling in. Then a few days later I woke up, and nothing had happened. It dawned on m that it’s very difficult to get hurt in a literary fight. In a strange way, all the shouting and shooting and the explosion were part of the literary excitement.
(funny that one of the criticisms, J.D. Salinger’s term, was that Wolfe’s attack was “gleeful.”
The next two are from an interview with Ron Reagan in “GEO, 1983. The prompt here is about Pol Pot and the then rampant Khmer Rouge:
So much of the political thought and fashion among writers and other commentators in the United States is based on the idea that liberty has always existed in a kind of mist over the left. In this country there have been very few ideologues, but there has often been a Marxist mist, the idea that there is something wonderful about socialism that if pursued correctly will lead to liberty, peace, harmony and the betterment of man in a way that nothing going on in modern industrial nation can. In the past ten years it’s been discovered that socialism, when put into effect by experts, leads only to extermination camps. This has been a terrible blow to a very fashionable idea. That’s why it’s embarrassing to dwell on Pol Pot. Pol Pot is not a maniac. He’s a man who studied the future for his country for years starting in France, and the whole Khmer Rouge movement was probably as rational an undertaking under a Marxist ruler as has ever occurred. Everywhere the experts have put socialism into effect, the result has been the gulag. Now to point this out is to be regarded as right wing. I regard it only as obvious – so obvious, in fact, that you have to be crazy to avert your eyes from it.
On why writers like Hemingway and Mailer are interested in fighters and “people who got their hands dirty”:
For this analysis, I go to Sigmund Freud. He said that writers and artists are people who discovered as youngsters that they lost out in the hurly-burly of the playground. They discovered, however, that they had the power to fantasize about such things, about the fruits of power, such as money, glory and beautiful lovers. In a way, that resonated with the fantasies and dreams of other people who were not so talented. When they are successful in presenting these fantasies to the public, they end up achieving through fantasy that which they were previously able to achieve only in fantasy. But somehow it’s not enough to be known as someone who is a skilled fantasist. That is second best; it would have been much better to have ruled the playground. So they constantly try to prove to themselves that they can rule the playground if they really try. But only rarely do you run into an obsession like that.
Wolfe later mentions he things handguns should be banned:
I think if manufacture and sale stopped, the price of the ones remaining would go up on the black market. If it became a felony nationally to possess a handgun and there was a public call to turn them in , I think you’d be surprised at how many would be turned in.
Wolfe had really done his homework to develop his styles.
I really made a concentrated effort to get in the game. I adapted a lot of things I had run across in graduate school. For example, there were these early experimental Soviet writers like Aleksei Remizov, Boris Pilniak, Andrei Sobel and the Serapion Brothers. One of them, Yevegeni Zamyatin, was best known for We, the book that Orwell’s 1984 was based on. From Zamyatin, I got the idea of oddly punctuated inner thoughts. I began using a lot of exclamation points and dashes and multiple colons. The idea was, that’s the way people think.
The four basic techniques of novels Wolfe tried to introduce to nonfiction:
The first is scene-by-scene construction. In other words, telling the entire story through a sequence of scenes rather than simple historical narration. Second is the use of real dialogue – the more the better. The third, which is the least understood of the techniques, is the use of status details. That is, noting articles of clothing, manners, the way people treat children, the way they treat servants. All the things that indicate where a person thinks he fits in society and where he hopes to go socially. The fourth is the use of point of view, which is depicting the scenes through a particular pair of eyes.
Re: psychedelia and mus:
Without that world, without Ken Kesey and the Grateful Dead, there would have been no serious music by the Beatles. They take off from the Grateful Dead, starting with that album Revolver. Everything from Revolver on comes out of the American psychedelic world, to which they were turned on by Bob Dylan – in person, in private. Not by listening to his records, but by getting involved with him personally.
Here’s another thing that’s now like a foreign notion. The seven deadly sins are all sins against the self. And this is an idea that’s vanished pretty much. Lust for example. The reason that lust in Christian religion was – particularly in the form of Catholicism that originated the seven deadly sins – was considered a sin was not that some man would be leading some nice girl from Akron into white slavery, or the pages of pornographic magazines, but that he would be hurting himself by wasting his spirit on this shallow and pointless, base passion.
I hope editor Dorothy Scura doesn’t mind me quoting so extensively from her book, which is itself a roundup of other interviews. My goal is simply to share some of these wonderful insights with likeminded readers.
There was a period when I was working on a novel, not working a steady job, and I figured, “I should make sure I at least hear an hour of human conversation a day.” That was the time in my life when I watched the most Charlie Rose.
The Charlie Rose Show website used to be elegantly organized. It’s still good, but there was a neat way it used to be indexed, there was section called like “writers on writing” I appreciated.
Charlie Rose has now been banished for his crimes which sound bad enough. Sometimes in the wake of what’s (perhaps unfortunately) called “the MeToo movement” I hear like “well what about due process?!” or arguments along those lines. But shouldn’t our public media gatekeeper/narrative shapers be not just merely not sex pests, but in fact above reproach? Couldn’t we have higher standards for our public broadcasters?
This got me riled about about Brett Kavanaugh as well — like, can’t we find someone for the Supreme Court who can’t be credibly accused of anything? I believe it is possible!
Anyway. Here are some memories of moments on Charlie Rose that stuck in my craw:
- The Franzen/DFW/Mark Leyner “Future of Fiction” episode
- When John Grisham was on, and Charlie asked him “what advice would you give to an aspiring writer?” Grisham said, “figure out where you’re going to get your paycheck from.”
- Charlie needling David McCullough about selling the rights to John Adams to Tom Hanks. McCullough was going on about how Hanks came to him with the book all marked up and noted, and how THAT was what convinced him. Charlie: “But surely some money changed hands, David.”
- Charlie would often say to a guest, who was just back from Iraq or whatever, “take me there.” (In fact, I think Charlie himself even called attention to this technique.
- Charlie referencing his “girlfriend”
- In a Remembering John Updike episode, David Remnick (or maybe Updike’s editor, or both) noting that Updike wanted to “get it all down.” Like, all of life, his every thought. Is this a good instinct?
- Charlie saying “c’mon, Toby” to Tobias Scheeman’s bullshit justification about why he had sex with a Papua New Guinean tribesman in Keep The River On Your Right
During a speech in November 1957 Eisenhower employed the saying again. He told an anecdote about the maps used during U.S. military training. Maps of the Alsace-Lorraine area of Europe were used during instruction before World War I, but educational reformers decided that the location was not relevant to American forces. So the maps were switched to a new location within the U.S. for planning exercises. A few years later the military was deployed and fighting in the Alsace-Lorraine: 2
I tell this story to illustrate the truth of the statement I heard long ago in the Army: Plans are worthless, but planning is everything. There is a very great distinction because when you are planning for an emergency you must start with this one thing: the very definition of “emergency” is that it is unexpected, therefore it is not going to happen the way you are planning.
I remember learning at the Nixon library about Nixon’s writing routine when he wrote this book in a house in Apple Valley, CA:
He used a Dictaphone or wrote longhand, working in seclusion, according to Esquire Magazine.
For breakfast, he ate a bowl of Grape Nuts and drank a can of orange juice. He wrote until noon, then paused for a ham sandwich.
Believe I first heard Eisenhower’s quote from Jeff Melvoin at a WGA showrunner training like mini-camp. I’ve found it profound.
One time a female Uber driver told me the secret to winning over women is “plan ahead.”
A brief skim of Eisenhower images on NARA.GOV leads us to this gem
Noticed something about myself, but maybe it’s true for you, too. I am most productive when I am a certain level of “busy.”
When I have absolutely nothing to do, like zero, I rarely get anything done.
There’s a level of overwhelmedment where I am also useless.
But at just the right level of medium busy, my machinery hums and I get a lot done.
Surely there’s meaning in this!
(Image found by doing a search on NARA.gov for “busy.”
Original Caption: Older Citizens, Retired Persons and Those Unable to Care for Themselves Physically Are Cared for in Two Community Centers. This Man Lives at the Highland Manor Retirement Home, Keeping Busy with “Old Country” Crafts. New Ulm Is a County Seat Trading Center of 13,000 in a Farming Area of South Central Minnesota. It Was Founded in 1854 by a German Immigrant Land Company That Encouraged Its Kinsmen to Emigrate From Europe.
U.S. National Archives’ Local Identifier: 412-DA-15875
Photographer: Schulke, Flip, 1930-2008
New Ulm (Brown county, Minnesota, United States) inhabited place
Environmental Protection Agency
Persistent URL: arcweb.archives.gov/arc/action/ExternalIdSearch?id=558325