THOMAS LARSON

(First Published San Diego Art Institute Press December 2008)

Finally, at what may be the early late middle stage of John Abel’s career, we have, with his show at Earl & Birdie Taylor Library in Pacific Beach, thirty years’ worth of the fifty-three-year-old’s paintings, drawings, and graphics. And what a magnificent catalog of Abel’s oeuvre the San Diego Art Institute press has published—the incisive work of a caricaturist, draftsman, and painter whose discipline is classical, expressionistic, and pugnaciously self-confident.

At UC Riverside in the 1970s, one professor’s masturbatory mania for conceptual art made him angry and quit. (Abel still disdains any art that avoids the time-tested strategies of beauty, composition, and meaning.) Wandering out of academe for good and rediscovering Drucker, he found his calling as a commercial illustrator. From 1984 to 1994, he did hundreds of assignments for weekly rags among them the San Diego Reader. Until one day the phone rang and he was told his skill was passe: they were going digital.

(First Published Cadillac Cicatrix Issue 2.0, Winter, 2008)

In 1819, an unknown artist, Barbara Krafft, painted what has become the most recognizable and beloved image of Wolfgang Amadeus Mozart that exists. Commissioned by Joseph Sonnleithner to hang in the newly opened Gesellschaft der Musikfreunde (Society for the Friends of Music), a conservatory in Vienna, Krafft's posthumous oil painting is based on (some say plagiarized from) another painting, The Mozart Family, by Johann Nepomuk della Croce, a work in possession of Mozart's sister, Nannerl. (Among the other few renderings are Mozart at seven and fourteen, in which he's portrayed as a pasty aristocrat; there are facial profiles as a boxwood medallion and a silhouette.) In the Croce work, dated 1780-81, Nannerl and Wolfgang are playing, perhaps improvising, a duet at the piano; the father, Leopold, is holding a violin and looking on; and the scene is countenanced by a trophy-head-like portrait of the composer's mother, Anna Maria, who died in 1778. In 1781, Mozart would have been 25; he would have just married Constanze and premiered his first opera seria, Idomeneo.

(First Published Amazon.com / Shorts October 12, 2007)

"Good judgment in politics, it turns out, depends on being a critical judge of yourself. It was not merely that [President Bush] did not take the care to understand Iraq. He also did not take the care to understand himself. The sense of reality that might have saved him from catastrophe would have taken the form of some warning bell sounding inside, alerting him that he did not know what he was doing. But then, it is doubtful that warning bells had ever sounded in him before. He had led a charmed life, and in charmed lives warning bells do not sound."

—"Getting Iraq Wrong" Michael Ignatieff The New York Times Magazine August 5, 2007

(First Published Amazon.com / Shorts July 2007)

In the last year of his life, Grandpa Wallin quit driving. For years he tooled his big Plymouth over the beveled streets, the grey, rough asphalt dark from rain or silvered by the sun. When my brothers and I rode in the back seat, he’d crab, for God’s sake, stop all that commotion. On Sundays he used to ride with us to our ritual breakfasts, a family outing so Grandma didn’t have to cook. One day, we were half way out the door when he said he didn’t feel well and was staying home. He wasn’t sickly. A retired newspaper ad salesman of fifty-three years, he seemed to be at work even at home, putting on a white shirt every day and sitting in his chair, reading. He was as stolid as ever to my nine-year-old mind. He might have been tired, though I don’t remember him napping except, maybe, when the book got dull and it rested on his stomach. (The man checked out four or five books a week from the library, Zane Grey and Frank Yerby, and read religiously.) Someone said he might have had indigestion, especially after my family’s breathless eating when we descended on our grandparents every holiday. Grandma Wallin would press him to say what was wrong, but he didn’t say. He fluttered a hand at her. Don’t fuss. Leave me be, woman.

(First Published Review Americana, Volume 2, Issue 1, Spring 2007)

For the past year, I've been monitoring the New York Times' nonfiction paperback bestsellers, and I find that 80 percent (12 of 15) are either memoirs or autobiographies. It's true that because I write critically about memoir as well as teach and write the form, I'm partial. But memoir's popularity still astounds me. It's the literary form of our time. Why?

Americans are an impatient lot. We don't want to wait until we're old and grey to discover what has mattered to us. The memoir has evolved so that octogenarian or college student can use the form to examine the emotional truths of their lives. Unlike autobiography, memoir doesn't require swaths of time to pass before a writer attends to an illness, a joy, a tragedy. If you haven't already, read Joan Didion's sudden memoir, The Year of Magical Thinking, the immediate telling of her husband's death in 2004.

(First Published Miranda Literary Magazine Summer 2006)

As early as I can remember, my father hated Catholics. Actually, he despised religious people. He labeled believers, hypocrites, priests and ministers, lushes. Whenever he spoke of this, which, like most personal things was seldom, the sibilant sounds of those scandalous words entranced me. His disdain for God’s reps on earth began and ended with two betrayals, one of his body, the other, his soul. Born September 3, 1914, in Evanston, Illinois, he was given up immediately by his Bohemian mother, who was probably (though no one knows) the dalliance of his Swedish father. The next day, he was adopted by the childless Larsons, a father who was distant and irascible and a mother who took him with her to daily mass. Of course, he didn’t know of his illegitimacy growing up, but the mark was there. At Catholic grammar school he was a student, and at church, an altar boy. A photo of him survives. A full head of combed-back black hair. A white surplice with the starched linen collar and large red satin bow. A look of mystical subjection. A boy, maybe any boy, who loved God.

(First Published Counterpunch August 16, 2005)

Abridged Too Far

I am a freelance journalist for the weekly San Diego Reader, where, during last seven years, my profiles, narrative nonfiction, and investigative articles have appeared. This past spring, the Reader published my 12,000-word cover profile of Dinesh D'Souza. D'Souza is an Indian-American immigrant who is one of America's prominent conservative authors as well as a skilled debater and right-wing pundit. D'Souza is best known for two books: Illiberal Education (1991), which attacked affirmative action and political correctness on campus, and The End of Racism (1995), a book still mired in debate because of D'Souza's claims that the economic disadvantage of African-Americans are due to the "pathologies of black culture."