Happy Labor Day? Not in Appalachia

(or any­where else, really).

CHARLESTON — The por­tion of Appalachi­an states liv­ing in pover­ty last year increased by 114,000 peo­ple to 13.3 mil­lion, accord­ing to U.S. Cen­sus Bureau fig­ures released Tuesday.

But it's all going swim­ming­ly, isn't it? That's what the man tells us, and that's what we know. Unless, of course, you pay attention.

I'm such an unpre­dictable seat-of-my-pants vot­er I should be shot. I read every­thing I can on the can­di­dates, always have, and like a dog eat­ing cat­shit, I even­tu­al­ly get sick of it all and vote my unre­li­able instincts. This year, after vot­ing for George I in '88 (please for­give my youth­ful indis­cre­tion) and after those straight Lib­er­tar­i­an tick­ets I vot­ed until 2004, when the doo-doo hit the fan and I vot­ed Ker­ry, I will be vot­ing the Oba­ma tick­et. There are no real can­di­dates for me out there. I'm set­tling. I think a lot of us must feel that way. Where is the pro-gun, pro-abor­tion, anti-death penal­ty, anti-fuck­ing-around-in-oth­er-coun­tries, stay-out-of-my-bed­room, small-com­mu­ni­ty-mind­ed can­di­date? Maybe I just don't pay enough atten­tion, or look in the right places. It's been known to happen.

Any­way. We're all work­ing for a liv­ing in our own way. I hope that what­ev­er work you do goes well for you today and tomor­row. In the mean­time, sit tight here and wait for a Den­nis Maha­gin poem lat­er on today or tomor­row, and the Toma­to Girl review I promised last week some­time this week. Sor­ry I didn't get a lot done these last few days, as the fam­i­ly and I drove eight hours across MA and NY and back to show off our new daugh­ter. Not fun. I'm pale by nature, and my win­dow-hang­ing arm is red like a spanked ass, and I'm sort of sun-sick. In my off moments, though, I'm read­ing Matt Wray's Not Quite White: White Trash and the Bound­aries of Whiteness.

Don't you wish you were me?

Don't answer that.

Posted in Appalachia, labor day, matt wray, not quite white, poverty | Leave a comment

Cotton Season by Jim Parks

William Pierce, Jr., grasped his hip with both hands and tugged with all his strength against the action of the auger that had caught his leg and was pulling his body to bloody pieces.

Red Smith locked eyes with him over the stub of an unlit cig­ar. Pierce screamed with­out a sound against the deaf­en­ing roar of the machin­ery. He knew that Smith had left the grat­ing off the top of the hor­i­zon­tal floor shaft meant to cov­er the auger.

After Pierce's right leg was reduced to a bloody pulp up to the pelvis, Smith turned off the main pow­er switch. All the machines shut down slow­ly. The vac­u­um hose that sucked raw cot­ton out of the wag­ons and into the gin was the last to stop, with a dimin­ish­ing moan. In the sud­den qui­et of that moment, on cue, he smiled at Pierce, speak­ing around the stub of unlit cigar.

"You look real stu­pid like that, Mr. Pierce."

Pierce thrashed the air with his fists and howled again. Blood spat­tered Smith's white dress shirt and the gold pen and pen­cil set clipped in his breast pocket.

"I tried to tell you about rush­ing a man in his work." Indeed, he had warned Pierce ear­li­er that morn­ing. Pierce had remind­ed him that it was 1934, there was a lin­ger­ing depres­sion, and that he was lucky to have a job.

"I know you right, Mr. Pierce," Red had intoned, then spat tobac­co juice at his feet. "You sho’ nuff right." Red knew what year it was. He had spent eight long years in the cot­ton fields of the Texas Depart­ment of Cor­rec­tions plant­i­ng, hoe­ing and pick­ing cot­ton, run­ning to the patch and run­ning back to the house in the evenings. He’d seen men go mad after rid­ing the Coke box in their bare feet, made to stand on the necks of glass soft drink bot­tles in wood­en cas­es all night because of some imag­ined or per­haps real but slight offense against a boss or a build­ing tender.

He had received a crooked tri­al in a kan­ga­roo court for some­thing not only he didn’t do but no one did because it, because the offense, in fact, nev­er happened.

Bur­glary of a building.

What build­ing? It wasn’t specified.

When? Where?

The jurors didn’t care.

He was just anoth­er drifter, a two-bit share­crop­per with a bare­foot family.

He’d seen men beat­en with trace chains on their bare backs who went on to die of infec­tions of the untreat­ed wounds, seen them kept in the hole, fed piss and punk for days until they were unable to per­form their work in the fields.

He had seen men lashed with the bat, a piece of indus­tri­al grade leather belt­ing attached to a wood­en han­dle, for being the last to reach the field or the last to reach the "house" in the evenings after run­ning to and from. A few well-placed elbows and knees took care of any man that was tar­get­ed to become a boss’s boy or a build­ing tender’s bitch. Bro­ken ribs and strained knees or pulled ham­strings made a man last, put him in the unen­vi­able posi­tion of being lashed to the bars of a cell door hand and foot, whipped until he screamed for mer­cy, and sub­se­quent­ly bro­ken through sex­u­al torture.

Red had seen it all, but he wasn’t bro­ken, not by a long shot. He had fam­i­ly and that fam­i­ly had paid hard cash to keep him in the good graces of the crooked author­i­ties. They paid to keep him in a job as a gin­ner in the civil­ian work force where the war­den rent­ed him out.

It had turned Red into a hos­tile, cyn­i­cal piece of work. He was tac­i­turn, dour and by turns down­right hate­ful to all but his fam­i­ly. It was all he had, that sense of belong­ing to a fam­i­ly and father­ing his own.

He was now liv­ing under the terms of parole, a sys­tem that placed him in the true state of feu­dal vil­lainy, a man unable to leave the coun­ty with­out per­mis­sion or to seek employ­ment any­where except where he had been assigned to work—for Pierce, the local cot­ton king.

But Red had also had the sense to make the best of his sit­u­a­tion. His lit­tle girl Dot­ty was smart. It showed way before she went to kinder­garten. By that time, she was read­ing him items from the paper, explain­ing the fun­nies, and adding up the fam­i­ly gro­cery bill based on the prices list­ed in the sale papers.

The Smiths knew they had a very spe­cial lit­tle per­son liv­ing in their fam­i­ly, some­one that came along while her dad­dy was away and whose spir­it had kept him alive through his dark­est days while he wait­ed for his Sun­day after­noon vis­its with Mrs. Smith.

His prob­lems with Pierce start­ed after Dot­ty had been called to the high school office one morn­ing the week before, told that she was the vale­dic­to­ri­an of her grad­u­at­ing class, and giv­en the morn­ing off to go tell her mom and dad. She had prac­ti­cal­ly run the mile and a half home to tell them.

They called every­one they could think of to crow the news. Ran down to the store to call long dis­tance and local. Now their girl could com­pete for the schol­ar­ships that would lead to a uni­ver­si­ty edu­ca­tion, a good job—in short, a way out of the grind­ing pover­ty of the depres­sion and the atten­dant rur­al pol­i­tics of mere sur­vival that pover­ty dictated.

She would be more free than they had ever hoped to be.

Then she went back to class after the lunch peri­od and the world turned upside down.

She was called to the office and told that there had been a mis­take. She wasn’t the class vale­dic­to­ri­an, after all. Anoth­er stu­dent had beat­en her record by a half a grade point.

She cried. She plead­ed with the prin­ci­pal and the school super­in­ten­dent to let her check the figures.

They refused her.

Then who had got­ten the high­er grades and dis­placed her from her spot?

The daugh­ter of school board Pres­i­dent William Pierce, Jr., own­er of the cot­ton gin, the bond­ed ware­house, and the seed mill.

He had wheeled up to the school in his Cadil­lac to pick up his girl and get the good news.

And so, the next morn­ing when a wealthy farmer came to the gin to com­plain that Red had told him to blow it out his ass when he demand­ed that his cot­ton wag­ons be unloaded first, Pierce came fir­ing out of his office in his white shirt and wing-tip shoes, strid­ing across the gin floor that he, in fact, owned, with­out look­ing where he was putting his feet.

That auger ate him alive.

"What hap­pened, Mr. Red?" A col­ored man asked in the sud­den qui­et, strolling over with the arthrit­ic gait of one that has grown old far before his time.

"I don’t know, Clarence. I pure­ly don’t know." Red light­ed a fresh cig­ar and sat down to wait for what­ev­er would come next. He sucked at one of his front teeth and spit.

Then he whis­tled a tune­less tune.

Jim Parks is a Tex­an, a news­man, a truck dri­ver, com­mer­cial fish­er­man, deck­hand and a dream­er. Keep him away from the fire­wa­ter and don't mess with his food or his woman.

Posted in Cotton Season, Fiction, Jim Parks | Leave a comment

To Which I Can Only Say "No Shit?"

Study: Men­tal Ill­ness More Com­mon In Appalachia.

Of par­tic­u­lar inter­est, I find, from page 18 of this mam­moth report:

Bar­ri­ers to the use of treat­ment ser­vices include social stig­ma for those who seek care, lack of
trans­porta­tion, non-recog­ni­tion of the root caus­es of sub­stance use behav­iors, mul­ti-gen­er­a­tional
pat­terns of sub­stance abuse behav­iors, and ero­sion of the pow­er of fam­i­ly and com­mu­ni­ty net­works to assist in per­son­al cop­ing skills.

OK then. They need­ed a bunch of social sci­en­tists and a paid study to tell them this? Have they been pay­ing atten­tion for, oh, the last six­ty years or so? Jesus Christmas.

You can go straight to the horse's mouth here.

I've got sto­ries com­ing up prob­a­bly lat­er tonight. Sit tight.

Posted in Uncategorized | Leave a comment

What's Coming Around the Ding-Dang

There are a num­ber of peo­ple stop­ping by today to read yesterday's post, by the way. Hi. No one's say­ing much, though. If you were—ahem—interested in this sort of sub­ject mat­ter, as you seem to be, what kinds of dis­cus­sions would you like to see here?

I've told you I'll be doing fic­tion, poet­ry, essays, inter­views, reviews, and also gen­er­al blog ephemera. Next week I'll have a review of Jayne Pupek's Toma­to Girl, and in the weeks after a dis­cus­sion of red­necks as por­trayed by Hol­ly­wood and the media, in which we will have much to say of Deliv­er­ance and Kali­for­nia and Patrick Swayze and Bil­ly Bob Thorn­ton, and even the web­site (warning—NSFW—warning) Dix­ie Sluts, a site that inspired events in the nov­el I'm fin­ish­ing (and yes, that's the last you'll see of me pimp­ing my own stuff here; I have anoth­er site for that).

I'll update and pub­lish a longish read­ing list I used for a hon­ors course I taught sev­er­al years ago that I called, in a bald attempt to get peo­ple to sign up, 'White Trash Lit­er­a­ture.' I taught two sec­tions of it even­tu­al­ly, as advanced com­po­si­tion cours­es. We read a deal of crit­i­cism and fic­tion, and watched films, in the process of ana­lyz­ing how the world thinks of 'white trash' and what it believes it can deduce about you, just by the way you talk or the loca­tion of your birth or the fact that, heav­ens for­fend, when you get excit­ed, you may indeed lose your edu­cat­ed TV announc­er voice and become… inter­est­ing to lis­ten to. I'm not going to promise you all the posts will be pret­ty. I'd like to get some semi-schol­ar­ly mate­r­i­al up here, too. At least semi-schol­ar­ly. It's nice to get off a rant once in a while, but some bal­ance is good, so I can con­vince myself I'm con­sid­er­ing every side of an argu­ment. If you're inter­est­ed in guest­ing here, hit me up. I have some sto­ries to read lat­er, too, when I'm not hack­ing up a lung. Thanks to every­one who's sent them to me.

Posted in coming soon, jayne pupek, tomato girl | 1 Comment

Old-Time Religion by Beverly A. Jackson

(orig­i­nal­ly appeared in Dead Mule)

She loves him as only a Chris­t­ian woman
can love a man; cru­ci­fies him with love,
bears wit­ness to love, kills him with devo­tion.
She is called Jude. She sings
Jesus Loves Me with a pow­er that
promis­es He'd darn-sight better.

Her hus­band leaves at mid­night.
She turns in her bed, naked & warm,
to hear him at the gate. Out­side,
snow thick as white oleo lies
in slabs under moon­light. His cat crawls
from under the truck & ducks inside
for warmth as he slips out to icy air.

Jason” she cries. His blue eyes flash
fox-like as he bolts, with her in pur­suit.
His foot pumps the gas & the old engine
turns over. Doors locked, he shifts into gear.
Across the snow she runs, breasts bob­bing,
legs sprint­ing, moon­lit hair fly­ing behind.

His shoe press­es the ped­al. She leaps
on the run­ning board. Her rav­aged face
press­es against his win­dow, a gargoyle’s
mask of furi­ous despair. Her mouth makes
"Jasons" in the air; wide toothy sound­less
"O"s against the frosty glass. With arms
embrac­ing steel, her body hugs the cab.

When he picks up speed, she screams,
lets go, falls back into the snow,
chest heav­ing at the moon, & lies wait­ing
for the cold to melt her rage.
Her sobs assault the qui­et, coun­try night,
curs­es pitch like arrows after a truck
long out of sight & sound. She knows
she's seen the last of it and him.

In the crisp light of morn­ing, fresh­ly bathed,
and smil­ing with resolve, she takes his cat
to the pound & goes to church.

Bev­er­ly A. Jack­son lives in the moun­tains of Asheville where she writes and paints. Her work appears in many online lit­er­ary venues and in print. Her blog is at www​.bev​erlya​jack​son​.com and her art can be seen at www​.artshack​stu​dio​.com.

Posted in beverly a. jackson, old-time religion, poetry | 4 Comments

Approaching the Rural Theme

Sven Birk­erts, in one of his many books or essays—every one is worth your while, by the way; I've read them many times in some cases—makes a case that we haven't real­ly seen a rep­re­sen­ta­tive lit­er­ary nov­el (I'd expand this to oth­er gen­res too) of the elec­tron­ic age in the way we might have been able to pick one or two out from past eras, that images and sounds and bits of infor­ma­tion whiz by us at such break­neck speed no one's been able to over­come the sheer mass and ampli­tude to make sense of it all. Which res­onates for me, I have to say. It's why realism—let's argue about what that means lat­er, shall we?— is the dom­i­nant lit­er­ary mode in the mar­ket­place for both poet­ry and fic­tion. Com­bine that with pub­lish­ers who don't see val­ue in exper­i­men­ta­tion, and you get a pub­lish­ing land­scape dom­i­nat­ed by his­tor­i­cal fic­tions and Carvere­seque sto­ries with lots of craft and lit­tle heart, mem­oirs and mem­oirish fic­tion, tiny domes­tic dra­ma poems, small moments of insight, etc, or, even more annoy­ing­ly, the one-trick pony high-con­cept nov­el or poem. You can find crit­ics and oth­er peo­ple all over the web com­plain­ing about it. I'm not going to both­er to link.

But Birk­erts makes the point: what's next? who's going to write that book, that poem, that col­lec­tion, the one that encom­pass­es life as we know it, some­thing to which you could attach a road­side sign, or, more like­ly, a pop-up win­dow. This is espe­cial­ly true for us, for you'uns, for any­one who writes rur­al-based mate­r­i­al or the kind of thing that might get tagged as 'region­al' in the library. Most peo­ple who buy books live in or near cities on either coast, with obvi­ous usu­al­ly-near-uni­ver­si­ties excep­tions. And the vast efflu­via of large­ly rur­al folks in the mid­dle and flanks of the coun­try, what pub­lish­ers and politi­cians call the fly-over zones, don't buy books. So we, as writ­ers, have to find ways to keep our region­al instincts, as well as pay homage to the fast-dis­ap­pear­ing rur­al ways in which we grew up, and make that all rel­e­vant to a more-urban-by-the-minute pop­u­la­tion that buys books, and a rur­al pop­u­la­tion that would rather do some­thing out­side the house or watch TV, or surf the web or whatever—you get the point by now. Who's going to do that? Where is the great (small‑m) mod­ernist or Post­mod­ernist (maybe con­tem­po­rary is the bet­ter word? Less loaded any­way.) rur­al nov­el or poem? The con­cepts don't even seem to work togeth­er. It's easy for inter­lec­tu­als like us to sneer at the aston­ish­ing suc­cess of a book like Cold Moun­tain a few years ago. I was a book­store man­ag­er then, and I resist­ed the book for ages even though Lar­ry Brown and Rick Bass porked off in the blurbs, nor­mal­ly a sure sign I'd like the thing. I resist­ed, and I resist­ed, and I caved final­ly, and I fell com­plete­ly in love. No sur­prise, maybe. But why that book? Why did it get so pop­u­lar, and who bought it, as its sales say it obvi­ous­ly cut through the nor­mal book-buy­ing demo­graph­ic (women age 35–40 and over, gen­er­al­ly) and spread.

The neg­a­tive first: yes, it's most­ly an exer­cise in nos­tal­gia: a nov­el with all the trap­pings of a time and place many peo­ple, in their dirty-greedy-lust­ful-acqui­si­tion­al lit­tle still-flut­ter­ing hearts, would like to go back to, a time in which men were men and women were women, they could over­come hard­ships, and peo­ple did what they had to to sur­vive, and love could (almost) con­quer all. And that's why it was suc­cess­ful: it said for peo­ple what they didn't think they need­ed said about love and war; it com­fort­ed them, build­ing an ide­al­ish world that some­what resem­bles the 'real'; it had (let's not for­get this) a care­ful­ly orches­trat­ed and expen­sive stealth PR cam­paign; it had the back­ing of Ses­salee Hens­ley at B&N. Enough to make me sneer, yeah, dis­miss it as unwor­thy of my time and atten­tion, yeah—but I loved it, and talked it up in my store, and we sold tons, and I was hap­py about it. I even liked the movie, for all its faults, and maybe because of them.

I had grown up around peo­ple like the old lady who helps Inman in the mid­dle of the woods, cur­ing his wounds and feed­ing him, peo­ple who lived out in the sticks and nev­er came to town, the odd sin­gle man who'll help out a fam­i­ly for no reward, and even the randy preach­er: my family's min­is­ter had left his own wife for a parish­ioner just a few years before, some­thing that might have been a scan­dal years ago but bare­ly caused a blip, those days, only fif­teen or so years go.

Tow­er Hill near Daggett was my Cold Moun­tain, a place where my dad had grown up hunt­ing, and where I could find arrow­heads in the plowed fields, where my uncles told sto­ries about the dogs run­ning off in the mid­dle of the night when they caught a scent oth­er than the coon they were sup­posed to be chas­ing, and where we some­times came to draw water from the spring on the side­hill peo­ple had been using for years, since our drink­ing water was iron-filled and rot­ten, and would sep­a­rate if you left it sit for a few moments. My fam­i­ly had been in the area for a hun­dred years, and in some cas­es, had farms just up the road. It's my place, in a way that it'll nev­er be for the fuck­ing flat­landers who've moved in there now and built nice hous­es where trail­ers and clap­board-walled shacks used to be. Improve­ment my ass. I am moved to right­eous anger just to think about it even though I live 300 miles away now… and that's why the book was suc­cess­ful. It keys to the things that make peo­ple most right­eous if you try to take them away: love, land, food, shel­ter. It's a great book, I think, for all its faults. It hits me. But it is nos­tal­gic, and maybe dan­ger­ous­ly so.

That time is gone, and the one we live in is dom­i­nat­ed by large cor­po­ra­tions who rape the land, force peo­ple out, build strip­malls and bypass­es, and chil­dren leave the places in which they've grown up for green­er (dol­lar signs, baby) pas­tures, and what we think and do is increas­ing­ly dic­tat­ed to us by the cor­po­ra­tized media. No won­der we should want some­thing to read that reminds us not of bet­ter times, but of any oth­er time but this one. I want to see the poem or sto­ry or essay that deals with that. Mod­ern con­texts, rur­al set­tings. There's your chal­lenge. Take it up or not.

Lat­er on today I'll hope­ful­ly post the first piece of work to ever appear on Fried Chick­en and Cof­fee. Come back then. I'm going out to drag my kids through the woods in Saugus right now.

Posted in contemporary lit, postmodernism, rural lit, sven birkerts | 1 Comment

Have Some Chicken And Joe!

Night Train is my main baby, let's keep that straight. How­ev­er much it's 'my' jour­nal, I feel con­strained, by dint of the sto­ries and poems we've pub­lished in the past, and our sta­tus as a non-prof­it com­bined with our incor­po­ra­tion as a qua­si-edu­ca­tion­al insti­tu­tion, to a rea­son­able fac­sim­i­le of what peo­ple expect to see. Else, why should they come back? And make no mis­take, folks do come back to see what we do, and that's great. I appre­ci­ate their atten­tion. I crave it, in fact. But there's always some­thing else.

The great dirty or not so-dirty secret of my past, is that I grew up in the north­ern­most por­tion of the Appalachi­an Region­al Com­mis­sion des­ig­nat­ed 'Appalachi­an' area, north-cen­tral Penn­syl­va­nia. The stereo­type, or more prop­er­ly, the arche­type, of the Appalachi­an region cen­ters around the Kentucky/West Vir­ginia por­tions of the ARC's des­ig­nat­ed area, but the eco­nom­ic dif­fi­cul­ties and many of the same issues and sim­i­lar­i­ties con­tin­ued into that Bradford/Tioga coun­ty area in Penn­syl­va­nia, where I spent the first 24 years of my life. I played in cricks where all the rocks shone orange with runoff, where no fish lived, though the coal indus­try was dead by the time I was old enough to know what it had been and how it had caused the dam­age, and the lum­ber indus­try gone too, fifty or sev­en­ty-five years before. What was left to me and my friends was sim­ply grow­ing up and find­ing a way out, via the armed forces, via col­lege, via just shit­ting and get­ting, if you could, the 'brain-drain' typ­i­cal of rur­al Appalachia. You stay and become part of the scenery, or you nev­er go back. Case in point, my father's fam­i­ly has lived, with three or four excep­tions, in the same three-coun­ty area for 230 years.

We all know the sto­ries, or we can look them up if we get the urge. Har­ry Caudill's Night Comes to the Cum­ber­lands, rev­enuers, snake­han­dlers, the Hat­fields and McCoys, feud­ing in gen­er­al, moon­shine, blue­grass, gospel, hard men, loose women, church women, coon dogs , coon huntin' and the folks who love them, or the NASCAR set, NRA set, how­ev­er you choose to name them. I didn't see all of this, of course, being both North­ern (pro­nounced Appalachia with a long sec­ond 'a' until I found out bet­ter, much lat­er per­haps than I should have). and more well off than many in the parts of Appalachia below the Mason-Dixon. But what I found, in this lit­er­a­ture of rur­al Appalachia and the rur­al south (and oth­er places to be sure) was a sense that I had found some­thing to mine, some­thing that could be mine alone, some­thing that felt exact­ly right to write about. And that's what I want this blogazine to be about.

I want to pub­lish sto­ries, poems, and essays about the rur­al life I lived for 24 years and still think of as my pri­ma­ry world and moti­va­tion. I still, near­ly twen­ty years lat­er, feel out of place in my cho­sen milieu, as a work­ing-class kid who now teach­es in pri­vate col­leges and edits and writes. I don't have to explain that to any­body who's made the move them­selves, but trust me, it's a bitch, and you nev­er recov­er from it and the sub­se­quent ques­tion­ing of self and career that inevitably accom­pa­nies the process.

I'll have some offi­cial guide­lines up soon, but suf­fice it to say that you can send your shit to rusty DOT barnes AT gmail DOT com. What I like I'll pub­lish here as I get it. It'll even–gasp–be edit­ed, pos­si­bly. You retain all rights to your work if pub­lished, of course, and as pay­ment I will send you a book of my choos­ing from my per­son­al library. It may be a lit­tle worn from read­ing, but I promise it won't be crap. All I ask in return–and I know it's a lot to ask for not much–is that you let me keep your story/poem/essay/interview on the blog in per­pe­tu­ity. You can sell the thing to some­one else the same day you sell it to me, I don't give a shit. What I want is to find good stuff and give it expo­sure. So pre­vi­ous­ly pub­lished pieces, espe­cial­ly those appear­ing in print-only jour­nals first, are fine by me.

I want to say some­thing else, too. I don't plan on being super-polite here, or apolo­getic for my views. What I say here is just me, bs'ing with you all, dis­cussing work, doing inter­views, etc. and I don't expect much crosstalk between here and my offi­cial gov­ern­men­tal­ly approved and sanc­tioned gig at the Train. OK?

If you'd like me to link to you and you have rel­e­vant con­tent, hit me up via email, and I'll begin a list. I have inter­views planned, art, poems, all kinds of neat and nasty stuff. As a final treat, I'll leave you with the work of the band that inspired this blogazine's title.

[youtube=http://www.youtube.com/watch?v=uItnW-XtauA&hl=en&fs=1]

If your work has affini­ties with any of the writ­ers I've list­ed in my pro­file, by all means, give me a shot.

Posted in the beginning | 12 Comments