Scenes from the office on my day off
Everything GMB says about ye olde daye job is true, including the part about the guy who dropped his toothbrush in the urinal and then brushed his teeth with it anyway.
At right is a blurry photo of the famed “Please do not spit in sink!” sign that someone hung in the kitchen. My favorite part: The “How disgusting!” appended in a different color ink, by a different hand. What better way to say, “We all hate you, kitchen-sink-spitter”?
Recently I started working a compressed schedule, so now you know what I’m missing when I’m home writing and doing laundry on Wednesdays. Follow Tim Hall’s lead: Add your own work horror stories over in GMB’s comments.
Granta online editor Roy Robins investigates web habits
The venerable literary magazine Granta invited me to contribute to a feature about the Web Habits of Highly Effective People. I agreed, and secretly braced for the punchline.
My comments are up at the site now — although I probably should’ve confessed my iPhone addiction* — alongside revelations and tips from: Guardian editor Alan Rusbridger (who gives a shout-out to the indispensable Talking Points Memo); novelist A.L. Kennedy; journalist and commentator John Kampfner; journalist and editor Isabel Hilton; literary agents Kevin Conroy Scott and David Godwin; writer, filmmaker, and anthropologist John Ryle; writer and journalist Andrew Brown; publisher Philip Gwyn Jones; journalist and blogger Jonathan Derbyshire; writer and blogger Amanda Gersh; and journalist and author Andrew Hussey.
* The only satisfying substitute for cigarettes. I check email so often, the little button doodad is dying, and Marie once addressed a message to me, “Dear iPhone.”
The Smart Set: Lauren Cerand’s weekly events
The Smart Set is a weekly feature, compiled and posted by Lauren Cerand, that usually appears Mondays at 12:30 pm, and highlights the best of the week to come. Special favor is given to New York’s independent booksellers and venues, and low-cost and free events. Please send details to Ms. Cerand at lauren [at] maudnewton.com by the Thursday prior to publication. Due to the volume of submissions, events cannot be considered unless the date appears in the subject line of your message.
MON, MAY 12: At McNally Robinson, “The ongoing Author/Editor series brings writers and editors together for a conversation about the process of creation.” Monday evening features Preeta Samarasan, author of Evening Is the Whole Day (Houghton Mifflin) in conversation with Houghton Mifflin editor Anjali Singh. 7PM, FREE.
TUE, MAY 13: In Brooklyn, “Douglas A. Martin (Branwell) and Arthur Phillips (Angelica) will be the featured readers in The Pacific Standard Fiction Series: Victorian Night.” 7PM, FREE. At Film Forum, Last Tango in Paris screens one last time.
WED, MAY 14: Mark Sarvas, of The Elegant Variation Sarvases, makes a single appearance in New York to read from his Harry, Revised (which British hipster publisher Jamie Byng correctly termed “the hottest debut novel on the planet”), at Barnes & Noble in Tribeca. 7PM, FREE, essential!
THU, MAY 15: “‘With God on Our Side,’ designed to take aim at the heart of societal discourse on multiculturalism and national identity with provocative pairings of intellectuals, policymakers and authors this year, presents ‘Getting Confucius Right,’ with London-based Asia expert, Ian Buruma, and Die Zeit commentator, Thomas E. Schmidt, discussing the concept of democracy such as it exists in Asia.” At the Goethe-Institut New York [Full disclosure, as always: this series is one of my publicity projects] 7:30PM, FREE.
FRI, MAY 16: Shows soon to close: “Gustave Courbet” (how can you miss the origin of the world?) at the Met; The Real World, an exhibition of works by Andreas Neumeister, Sean Snyder and Wolfgang Tillmans at Ludlow 38 [Full disclosure, as always: I am the publicist for Ludlow 38]. Both through May 18. And a new one at Jen Bekman Gallery, “Love = Love, an exhibition by Kent Rogowski comprised of six large-scale photographic prints based on altered puzzles, as well as a selection of the original objects.” Through June 14.
SAT, MAY 17: “Housing Works Bookstore presents the Mountain Goats’ John Darnielle reading from his new book, Black Sabbath’s Master of Reality the newest in the 33 1/3 series.” 7PM, $10 suggested.
SUN, MAY 18: “The good words @ Good World reading series continues with Reading #12: DEAD ROCK STARS, featuring JEFF GORDINIER on Kurt Cobain, HUGH HALES TOOKE on Syd Barrett, and JOHN SELLERS on Ian Curtis.” Good World Bar and Grill is located at 3 Orchard Street, between Canal and Division (Subway: F-East Broadway). 5PM, FREE.
Bedbugs “just itching” to tell you favorite Bible stories

Maybe it’s me, but I’m thinking the Bedbug Bible Gang might want to consider rebranding for the urban market. Or, hey, if that’s outside the budget, at least drop the “just itching to” pitch.
The scene above is from Esther Fest, in which the “Bedbugs share the story of Esther in a royalty rousing episode.”
Poe and Derrida: The roommate years

After Bookslut directed my attention to the David Foster Wallace cartoon at pictures for sad children, I read through the archives. Much of the story centers on Paul, who has a crush on a coworker and still shows up to his cubicle even though he’s dead. The call center series is especially good.
Last month the cartoonist, John Campbell, was taking orders for custom comics at $20 each. You were able to request specific characters, and I asked that my comic feature Edgar Allan Poe and Jacques Derrida. Here it is.
When home is a weekly-rate motel room, even the Bookmobile won’t visit

In “Nashville’s Other Skyline,” a print-only offering from the current issue of Oxford American, Richard Schweid investigates a different kind of homelessness: living in a motel.
Three-quarters of the kids who attend one elementary school in the neighborhood he surveys have been homeless at some point. Almost 90% who start school there in September end up somewhere else by May. The area is “pocked with liquor stores, used-car lots, and check-cashing storefronts. There are no community centers here, no libraries. Not even the Bookmobile will come around.”
The one rule a weekly-rate motel is likely to enforce: “ANYONE EVICTED WILL HAVE THEIR THINGS THROWN AWAY.”
[F]amilies that stay [at the Trinity Inn] — mostly single mothers and their children — are promptly evicted for missing the weekly rent. On the morning after such occasions, kids usually arrive at Schwab Elementary empty-handed, with nothing but the clothes they’ve had on since their eviction. Textbooks need to be replaced. Toys and keepsakes disappear.It happens frequently enough that teachers at Schwab Elementary School, with well over three hundred students from kindergarten through fourth grade, keep sets of kids’ clothing in various sizes laundered and tucked away in drawers.
Despite its brevity, this may be the best article I’ve ever read in Oxford American. It is definitely the most depressing.
For more on homelessness in Nashville, read the Tennessean article on a march and vacant house takeover held earlier this week. The image at the top of this post is from an August 1998 special section of The Orange County Register.
Pentagram’s cryptograms

For the holidays, the design firm Pentagram sent out Decipher, a gorgeous book of cryptographic puzzles now reproduced online for your enjoyment. Solve them here.
Helping to spread The Great Derangement
For his new book, The Great Derangment: A Terrifying True Story of War, Politics, and Religion at the Twilight of the American Empire, Matt Taibbi went to a 3-day charismatic Christian retreat in Texas and wound up vomiting demons. (Ah, memories.)
In places there’s a patronizing edge to the excerpted account that renders it a little less effective journalistically than something like Jesus Camp. Still, Taibbi’s got a compelling story and some good and unusual insights into how that world works.
Having enjoyed his scathing articles for years, I can’t wait to get my hands on the book.
If you’d like a signed copy, and you haven’t won one of my giveaways in the past, email me at maud [at] maudnewton [dot] com before 9 a.m. EST tomorrow (5/7), with “Great Derangement” in the subject line. All entries will be assigned numbers based on the order received, and the randomizer will choose a winner. Jacob M. wins the signed copy.
Wilfred in 6-minute installments, online

The plane back from Georgia was delayed, and all the pulled pork, okra, and cake I ate this weekend must have gone to my brain. I can’t concentrate to answer email, much less catch up on reading.
For now, try Wilfred, an Australian TV show being shown in daily installments at IFC.com. Ingredients: one man, one woman, and a bong-smoking dog who thinks he’s human. Says Brooklyn Skeptic:
When I saw clips of Wilfred at the party last night, I pretty much assumed it would be completely retarded. But actually, it is completely delightful. Basically, it’s about a guy who is dating a girl with a dog - and the dog is played by a man in a dog suit. The dog says creepy things, smokes pot, likes to watch DVDs, and gets an itchy butt at night.
An old buddy from my Gainesville days is one of the masterminds behind IFC’s new Web Series lineup, but I point you to Wilfred because it’s funny, not because I need a check on the nepotism scorecard.
Second place in StoryQuarterly’s love story contest
Remember that essay I was writing last year about my ex-? I keep forgetting to say that it will be anthologized in May 2009 in Cross My Heart, Hope You Die, a collection of doomed-relationship essays edited by my friend Michael Taeckens.
Last I checked, the contributors included Kate Christensen, Junot Díaz, Gary Shteyngart, Saïd Sayrafiezadeh, Dana Rasso, Tayari Jones, Amanda Stern, Pasha Malla, Wendy McClure, T. Cooper, Jami Attenberg, Katherine Lanpher, Emily Flake, Lynda Barry, Brock Clarke, Jennifer Finley Boylan, and possibly Michael himself (if I have anything to say about it).
I mention the piece now because my friends Marie and Alexi have been pushing me to send my work to literary magazines — Marie said I needed to start thinking of myself as a writer, and to learn to stomach rejection, and this would help — and, after years of largely avoiding that process, I have been.
So I entered StoryQuarterly’s Love Story Contest, with the essay that’s going to be anthologized. I submitted and paid my $20 on the last possible day. And yesterday the editors wrote to tell me I won second prize(!). Also, $1,500(!). Astonishing. I’ve admired StoryQuarterly since I first read it back in college. (The most recent issue is here.)
Elizabeth Stuckey-French took first place for “Interview with a Moron,” and Janet Burroway took third, with “Blackout.” Runners-up are Heather Brittain Bergstrom, Mermer Blakeslee, William Borden, Beth O’Gara Connor, Masha Hamilton, Christian Lewis, Ron Tanner, Sarah Towers, Lesley C. Weston, and Yuvi Zalkow. (My piece is called “Conversations You Have at Twenty.”)
If you’ve got some good stories sitting in a drawer, pull them out, dust them off, and ship them off to journals you like. Form rejections are no fun, and insulting ones are worse, but you can’t win if you don’t send.
StoryQuarterly’s sister publication, Narrative is running a contest for first-person stories right now. Some of my (and my friends’) other favorite venues are at the bottom left of my links page. Poets & Writers and New Pages have more comprehensive lists.
Alternate uses for blank sheets of paper

These images of sculptor Peter Callesen’s paper cuts have been floating around the Internet for a while, but they’re new to me. Many of his smaller works appear to be made from, essentially, single sheets of printer paper.
My friend Kellie is partial to the Día de los Muertos style pieces, and “that crazy Tim Burton tower” (below). Me too, and I also like this poor cowboy (above) and the dead angels (at bottom).


I was told there’d be cat photos

At a book party last night I witnessed what I’m tempted to call the New York media version of an Abbott and Costello routine — except it was an actual conversation, and I was a participant. Here’s how it went.
Critic: [Upon introduction.] Maud Newton… Wasn’t there a novel called that this year?
Me: I don’t think so.
Critic: Yes, I think there was a novel or something.
Friend: Are you thinking of Elizabeth Costello? Or some other book with a name for a title?
Critic: No, Maud. It’s such a common name now, all of a sudden. Recently I met a Rachel Maud. And Maud Newton, yes, it’s definitely a book.
Friend: Maybe you’re thinking of a blog?
Critic: [Pulls out phone.] Let me just check Amazon.
Me: I think I’d know if there was a novel called “Maud Newton.”
Journalist: Yes, I think she’d know.
Critic: No, I’m not finding anything. Let me put it in Google.
Me: Please don’t Google me right now.
Critic: N - E - W - T - O…
Me: Seriously, could you just not –
Critic: Oh, right, this is what I was thinking of: Maud Newton. Is this your website?
Me: Yes.
Critic: Is it a literary website?
Me: Well, sort of. People seem to think so.
Critic: Does it have a cat on it?
Me: No.
Friend: A cap?!
Critic: A cat.
Me: Not as far as I know.
Critic: Oh, I thought it had a cat.
And now it has two — Emily & Percy — so everybody’s happy.
Harry Crews in The Georgia Review giveaway
If my brief excerpt from Harry Crews’ autobiography-in-progress got you curious to read more, you’re in luck, maybe. Today I’m giving away a copy of that issue of The Georgia Review.
It’s funny: I haven’t been to the Peach State since I drove through from Tallahassee while moving here in ‘99, but as luck would have it I’m headed down to The Georgia Review’s home base — the lovely and slackerful Athens — this weekend, just as the magazine has come to town for the National Magazine Awards and a string of events. Looking to supplement your PEN World Voices event-going? Check out your options here.
If you’d like to read the Crews autobiography and letters — and to see an awesome shot of the author smoking (I think) a joint at a carnival — email me at maud [at] maudnewton [dot] com before 9 a.m. EST tomorrow (4/29), with “Georgia Review” in the subject line. All entries will be assigned numbers based on the order received, and the randomizer will choose a winner. This time the randomizer likes Sebastian S.
Weekend greetings from someone else’s buzz

Recently I posted a 1914 Dallas Morning News article about a dead woman found on a Galveston beach whom an old family friend misidentified as my great-grandmother, Alma Johnston. I planned to follow up with a couple photos I unearthed of Alma standing in and in front of the waves in Galveston, but those shots have gone missing.
Instead here’s a picture of my Newton grandpa (above, right) living it up with a buddy in someone’s backyard. Hope your weekend was equally good.
More literary quips, observations, & instructions

“You can’t talk about the serious and the comic separately and still be talking about life, any more than you can independently discuss hydrogen and oxygen and still be talking about water.” — Peter DeVries
“I feel there is a great deal of highly conventional thinking in almost every area of life that must be discarded in order for a writer to make something with integrity.” — Marilynne Robinson (pictured; image taken from the excellent Open Letters Monthly)
“Novelists are people who have discovered that they can dampen their neuroses by writing make-believe. We will keep doing that no matter what, while offering loftier explanations.” — Kurt Vonnegut, responding to Jonathan Franzen’s “Perchance to Dream: In the Age of Images, a Reason to Write Novels”
“On the off chance that you think the piece is so righteous that the magazine would have folded if it (the piece) had not crossed your fucking desk, you might also call me and say something to that effect. I’m like an old whore these days, still getting plenty of work, but not enjoying it as much as I once did. Old whores need kind words and a little praise for their efforts just like everybody else.” — Harry Crews, letter to James Morgan printed in The Georgia Review
“Nothing contributes so much to tranquillize the mind as a steady purpose — a point on which the soul may fix its intellectual eye.” — Mary Shelley, Frankenstein
“I want to devote my life to my art. And I know if I’m a man and I say that I would be this great artist who sacrifices life for his talent, but since I am a woman I become this ambitious bitch who doesn’t want to have kids.” — Marjane Satrapi (via)
On Harry Crews’ autobiographical writings
Whatever you think of Harry Crews, you’ve got to give him this: the man has never shrunk from candor. The strength and fury of his writing surges from his bluntness.
“I never wanted to be well-rounded,” he has said. “I do not admire well-rounded people nor their work. So far as I can see, nothing good in the world has ever been done by well-rounded people. The good work is done by people with jagged, broken edges, because those edges cut things and leave an imprint, a design.”
Years ago Crews published A Childhood: The Biography of a Place, an utterly unique meditation on growing up dirt poor and white in rural Georgia. Now The Georgia Review has published an excerpt from a second autobiography he’s been writing, and this one is packed with sociocultural musings — on race, women, homosexuality — that I completely reject.
Even so, I’m interested, in a way I don’t fully understand. Do I read Crews’ nonfiction because of my own background? Because I’m drawn to writing about extremes? Because I once sat in his classroom? I just don’t know. Maybe there’s a connection with some of the ideas underlying Victor LaValle’s Oe test (scroll down).
I’m posting a brief excerpt — hitchhiking tips that veer into a riff on men who prey on boys. Click “more” at your own risk.
Don’t smile. It looks fake, and if the smile was was a fake, then what was real? Never frown; it helps nothing. No expression is the best expression and the most difficult to master. No expression on a young kid who needs something badly makes him look like a whipped puppy. I didn’t like to look that way, but I didn’t have to like it, I only had to do it when it was necessary.I knew the cars to work and the ones not to. If a man was driving and there was a woman with him, forget it. I never even tried to make eye contact when that was the case. If a woman was driving alone, not a chance. Unless, of course, you were six or seven or maybe a runty eight. I was none of those things. Besides, I already had the beginnings of a face that in later years would develop in such a way that when I walked into a bank as an adult, the guards drew their guns.
Novelist Theodora Keogh back in print, online
All her novels were out of print when Teddy Roosevelt’s granddaughter, the talented and scandalous writer Theodora Keogh, died in obscurity a couple months ago.
Last week I discovered (and briefly mentioned) that several of them were revived as 80¢ e-books for Amazon’s Kindle. The Kindle itself, however, was sold out. (Also, it costs four hundred dollars.)
In case you haven’t noticed, I’ve become a little obsessed with Keogh.
(Did you know that there is some question whether the margay actually chewed off attacked her ear at the Hotel Chelsea?* The marvelous Brooks Peters has had some fun comparing the 1936 film Theodora Goes Wild with the author’s life.)
This weekend, while I was supposed to be doing other things, I found that a number of the books being sold for the Kindle are also available in PC- and PDA-compatible electronic format.
Just download some free software, pay four dollars, and you can have almost half of Keogh’s nine novels at your fingertips in just a few minutes. You don’t get to hold the book and feel the pages as you turn them, it’s true, but what a great way to rescue out-of-print fiction when publishers aren’t getting to it.
Image taken from Brooks Peters, who says it comes courtesy of Dave Kiersh.
* Update: Joan Schenkar, a friend of Keogh’s and Patricia Highsmith’s biographer, writes in to correct the record: “Theo’s ear was NOT bitten off by the margay. The margay nipped a little piece of it, and Theo kept her hair down to cover it. It did happen in The Chelsea Hotel.”
The Smart Set: Lauren Cerand’s events
The Smart Set is a weekly feature, compiled and posted by Lauren Cerand, that usually appears Mondays at 12:30 pm, and highlights the best of the week to come. Special favor is given to New York’s independent booksellers and venues, and low-cost and free events. Please send details to Ms. Cerand at lauren [at] maudnewton.com by the Thursday prior to publication. Due to the volume of submissions, events cannot be considered unless the date appears in the subject line of your message.
Later this week, I’m going to get some fresh air and bliss out in the country, so please note that this edition of The Smart runs through Monday, May 5.
MON, APR 21: “Jewels and Binoculars was born out of Lindsey Horner and Michael Moore’s mutual love of Dylan’s music… Interpreting the songs instrumentally, the trio uses the power of the tried and true folk song forms as the starting point for their improvisational flights, all the while keeping the power of the words and images fresh in mind…The latest recording, the third from this collective trio, is entitled Ships With Tattooed Sails on Horner’s Upshot Records label.” The group performs at Roulette on Monday evening. 8:30PM, $15.
TUE, APR 22: KGB Nonfiction Night host Kelly McMasters (herself author of the quirky and charming new memoir, Welcome to Shirley) presents an evening with Joanne Chen (The Taste of Sweet: Our Complicated Love Affair with Sugar), Meredith Hall (Without a Map: A Memoir) and Amanda Marcotte (It’s a Jungle Out There: The Feminist Survival Guide to Politically Inhospitable Environments). 7PM, FREE.
WED, APR 23: Rick Whitaker’s SIP LIT, “a monthly series of readings in a cafe,” presents Roxana Robinson, whose new novel is Cost (FSG, June) and Pamela Ryder, whose first novel, Correction of Drift, is published by Fiction Collective 2, “a literary alternative since 1974.”. At Sip, 998 Amsterdam Avenue between 109th and 110th Streets on the Upper West Side. 8PM, FREE [Full disclosure, as always: Robinson is one of my publicity clients].
THU, APR 24: “Show/Tell” presents a screening and discussion of video art inspired by Walter Benjamin’s Passages, the intricate and haunting life’s work contemplating the arcades of Paris that continues to captivate artists and thinkers today. At the Goethe-Institut New York [which is, full disclosure, as always: one of my publicity clients]. 7PM, FREE.
FRI, APR 25: The Poetry Project hosts an evening with Michelle Tea and friends, including Nicole J. Georges, who is “most proud of being voted Miss Specs Appeal 2006 by the zine Hey! Four Eyes” and Rhiannon Argo, who “recently finished her first novel entitled Switch, a tale of grit and glam, starring fierce feminist strippers and punkish, gender-queer girl-skateboarders.” 10PM, $8.
WEEKEND: Two good shows to catch: Ian Baguskas’ Sweet Water at jen bekman, Blake Rayne at Miguel Abreu.
MON, APR 28: Pay homage to National Poetry Month by sending the best kind of poem — a vaguely dirty one — to your current object of desire. Here’s one for the girls, and one for the boys.
TUE, APR 29: In Brooklyn, “The Pacific Standard Fiction Series: Art, Politics, and Murder featuring Francisco Goldman, Anne Landsman, and Ceridwen Dovey.” 7PM, FREE. PEN highlights include, “Crisis Darfur: A Conversation with Mia Farrow and Bernard-Henri Levy, Sponsored by Guernica: A Magazine of Art and Politics, and moderated by Dinaw Mengestu, author of The Beautiful Things That Heaven Bears. 8PM, $15 (advanced ticket purchase essential).
WED, APR 30: The Beatrice series (I would propose, as Lord Byron suggested, “The reader is requested to adopt the Italian pronunciation of Beatrice, sounding all the syllables.”) presents novelists Arthur Phillips and Paulina Porizkova at the Mercantile Library. 7PM, FREE.
THU, MAY 1: Says Jonathan Taylor: “After the Thomas Bernhard reading that I organized last year at KGB, the Austrian Cultural Forum asked me to put together another Bernhard event for the 2008 PEN World Voices festival. Consequently, I will be moderating (!) a panel discussion on Thomas Bernhard and “the art of failure.” I hope you can make it if you’re interested; friendly faces in the audience will be very welcome. It will take place on Thursday, May 1, at 7:00 pm, at the Austrian Cultural Forum, 11 E. 52nd St. in Manhattan. It’s free, but reservations are required (reservations@acfny.org or 212 319-5300, ext. 222). Full details are also here.”
FRI, MAY 2: More PEN goodness, with Leaving Home, as “Guernica: A Magazine of Art and Politics hosts a panel with debut novelists Dinaw Mengestu, György Dragomán, and Saša Stanišić, whose narrators recount escaping violence in their home countries only to be fraught with feelings of ambivalence in their adopted countries. Moderated by Irina Reyn, whose debut novel, What Happened to Anna K., will be published in August 2008, the panel will explore children as witnesses, the status of exile, and the role of fiction as a voice for multiculturalism.” 5:30PM; FREE, but reservations required.
WEEKEND: Janice Erlbaum (Girlbomb: A Halfway Homeless Memoir, Have You Found Her) reads down by the water in Red Hook as part of Sundays at Sunnys, hosted by Gabriel Cohen, author of the new memoir Storms Can’t Hurt the Sky: A Buddhist Path Through Divorce [Full disclosure, as always: Erlbaum is one of my publicity clients]. 3PM, $4 suggested.
MON, MAY 5: Please join us for an evening at Housing Works exploring “Art & Activism: Writers on Politics Now,” with Stephen Elliott (Sex for America), Nick Flynn (Another Bullshit Night in Suck City) and Janice Erlbaum (Have You Found Her) [Full disclosure, as always: I helped to put this event together]. 7PM, $10 suggested in honor of Housing Works Bookstore Cafe’s Tenth Anniversary.
Jack Pendarvis’ sausage and peppers
The delightful Jack Pendarvis, author of Your Body is Changing and fellow fan of Peter DeVries, lives in Oxford, Mississippi, where he’s the visiting writer-in-residence at Ole Miss. (Look for him next time you’re eating oysters at City Grocery.)
His first novel, Awesome, will be published by MacAdam Cage in July. It’s “about a happy, rich, sexy, handsome giant who goes on a scavenger hunt,” Pendarvis told SmokeLong Quarterly. “I had been bemused by the critical consensus (even in good reviews) that I write about ‘losers.’ I had been wondering a lot about what people think a ‘winner’ is. Is it a happy, rich, sexy, handsome giant? But the way I wrote him, I suppose everyone will say that he’s a loser, too.”
Below the Alabama native shares a sausage and peppers recipe inspired by Mario Batali and Goodfellas. “I am sure I make [it] the exact wrong way,” he says. “I apologize to everyone who cares!”
For the first several years of my unemployment, during which I was “finishing” my extremely ill-fated 400-page sequel to Tom Sawyer, I mainly sat around the apartment and watched TV. One thing that made me happy every single day was watching Molto Mario starring Mario Batali on the Food Network. I don’t think that show comes on anymore. But Mario Batali led me to believe that I might do exciting things with my time. He helped me come to my decision to make sausage and peppers.
I don’t believe I ever saw Mario make sausage and peppers, but I had heard them discussed in great movies like Goodfellas. I learned a general trick from Mario, though, which was to add some of the salty, foamy, carbohydratey water from your cooking pasta to your pasta sauce at the very last minute. That comes in later!
I improvised my sausage and peppers recipe based on some of the things I had seen Mario do and some things from movies. First I put some olive oil in the bottom of a nice big pot made out of something called “Magnalite.” It was my grandmother’s pot, and it’s great to cook sauce and soup in. I put the oil on about medium or medium high, and browned some (three? four?) links of spicy Italian sausage, squeezed out of their casings into the pot, in several pieces. (This was on a gas oven, which I miss. I still haven’t figured out how to judge things correctly on an electric oven.)
Then I removed the browned sausage and put in some chopped onion, chopped red bell peppers (or sometimes orange or yellow) and chopped garlic, all three chopped poorly. Sometimes I put in a whole bunch of peppers, like six. I let the onions and garlic get pretty brown, the way Mario likes them, then I dumped in a good bit of wine, as much as I could stand to dump in rather than drinking. Oh, before I dumped in the wine, I threw in a whole bunch of red pepper flakes and let them sizzle in the oil, but just for a second — not so they turned black or anything, just a heartbeat.
Now, adding the wine so early is something I never saw Mario do. He always adds the wine after the tomatoes. He would probably faint to be associated with my practice! But I seemed to recall reading in the New York Times that adding the wine first, and letting it cook WAY down (like to half the volume it was before) can give a tomato sauce a “deep, smoky flavor” (or something like that). So I let the wine cook way, way down, on a simmer. After that, I added a box of tomatoes - there are these delicious chopped Italian tomatoes that come in a box rather than a can. I threw the sausage back in, brought it to a boil for a couple of minutes and turned it down to a simmer.
Should I mention that I never salted the sauce? Sometimes I would put in a little sugar (because they do it in The Godfather). Sometimes just a tiny bit of dried basil toward the end. I was never in a big hurry to start cooking the pasta because I liked to really, really let the sauce cook down, simmering. As I had seen Mario do, I would scrape the dark, nearly burnt specks of sauce that had hopped up the side of the pot (I believe technically it might be a Dutch oven) and make sure they made it back into the sauce, all caramelized and everything. It was only after all of this that I would fill another pot with water and put it on to boil. Making the pasta so late helped me be patient with the slowly cooking sauce.
I cooked the pasta a minute or two less than instructed by the package. This is something I learned from Mario! I favored a very long curly (and expensive) pasta which is exactly wrong to have with sausage and peppers, I am sure. The reason that Mario likes to undercook the pasta in the first stage is this: You drain the pasta, turn the heat way up on your sauce, and throw the pasta in there, where it and the sauce finish cooking together. Stir, stir, stir! (I learned about the stirring from Goodfellas. I always wanted to slice the garlic with a razor blade like Paul Sorvino, but I’m too lazy.) Oh, and don’t forget, as mentioned above, right before you drain your pasta and it’s still roiling, scoop out some of the pasta water and throw it in your sauce. I always salted the pasta water pretty heavily, as Mario seemed to do (even when he called it “a pinch”). I made it almost briny. And that’s where the salt in the sauce comes from, vestigial salt was the way I liked to think of it. It made it healthier in my mind.
Of course I grated that really fancy Parmesan on top of each serving.
Once, my parents (who love my sausage and peppers) came for a visit, bringing fresh shrimp from Bayou La Batre, Alabama, my hometown. I added them to the sauce at the last possible moment (five minutes? Ten? Anyway, long enough to cook them through). It made something like jambalaya, sort of.
Another time (sans shrimp, which I only tried once) when I didn’t have any Italian sausage, I used Conecuh County sausage, a fantastic sausage from Alabama (don’t squeeze it out of the casing, just chop into a few pieces). I can’t remember if it turned out to be a success with the Conecuh County sausage, but if not, don’t blame the great sausages of Alabama! You can find a more appropriate use for Conecuh County sausage (an actual jambalaya, for example) and you’ll be glad you did. Spicy Italian sausage is the thing to use. I’m sure I’m leaving something out.
P.S. DON’T be tempted to stir your onions, peppers, and garlic too soon! Mario always lets them sit and cook undisturbed. I wouldn’t push them around until time to make a little swimming pool of oil for the red pepper flakes.
Vonnegut’s armageddon (and semicolons) in retrospect
Some critics have characterized Kurt Vonnegut’s Armageddon in Retrospect as a disappointing epitaph, and I can see why. This collection of previously unpublished writings on war and peace doesn’t really cohere as a traditional anthology.
But as a road map of the literary path Vonnegut followed from a POW-repatriation camp to the publication of Slaughterhouse-Five 23 years later, it is immensely satisfying (and, at least to this first-time novelist, encouraging). “These early stories,” Julie Phillips observes in the Village Voice, “mainly illustrate the traps Vonnegut didn’t fall into, the wrong turns he didn’t take, the superficial answers he didn’t accept.”
To me the most gripping entry in the collection is the letter Vonnegut sent his family on May 29, 1945, when the horrors he witnessed in Dresden were still fresh. The L.A. Times‘ David Ulin writes:
Here, we see the writer in protean form, commenting on material he would later explore in his fiction: the absurdity of war, his experience surviving the firebombing of Dresden, Germany, the futility of looking for meaning in a world gone mad. “When General Patton took Leipzig,” he writes, “we were evacuated on foot to Hellexisdorf on the Saxony-Czechoslovakian border. There we remained until the war ended. Our guards deserted us. On that happy day the Russians were intent on mopping up isolated outlaw resistance in our sector. Their planes (P-39’s) strafed and bombed us, killing fourteen, but not me.”This “but not me” is vintage Vonnegut, a sigh of resignation not unlike “Poo-tee-weet” or “So it goes.” There are other such whispers throughout the collection: “Wailing Shall Be in All Streets,” a slice of memoir about Dresden, or “Brighten Up” and “Just You and Me, Sammy,” which also spring from Vonnegut’s time as a POW, highlighting the fine line between collaboration and survival, between what we do to preserve our bodies and what we do to preserve our souls.
But while each of these pieces has its charms, they’re ultimately little more than first impressions, initial forays into the territory Vonnegut would revisit to such searing effect in “Slaughterhouse-Five.” That’s a process he evokes in “A Man Without a Country,” when he describes an encounter with a friend’s wife that forced him to see things in a different light. “In 1968,” Vonnegut noted, “the year I wrote ‘Slaughterhouse-Five,’ I finally became grown up enough to write about the bombing of Dresden. . . . Why had it taken me twenty-three years to write about what I had experienced in Dresden? We all came home with stories, and we all wanted to cash in, one way or another. And what Mary O’Hare was saying, in effect, was, ‘Why don’t you tell the truth for a change?’”
The full text of the letter is available online, but do try to pick up a copy of the book so you can see the facsimile of the actual document. In it, my beloved, semicolon-averse Vonnegut incorrectly uses two “hermaphrodite transvestites” of the punctuation world.







