My Book is Now Out

Hello to my readers, subscribers, and followers — and I wanted you to know, and with a big heart felt thank you for riding along with me.

“I was sixteen when the world damn near blew itself off the map. October 1962 — the Cuban Missile Crisis — and every kid I knew suddenly had to grow up overnight. I didn’t know a damn thing about geopolitics, but I knew enough to understand that if the wrong guy sneezed in Washington or Moscow, Staten Island might end up a smoking hole. One minute I was dreaming about football season; the next I was lying in bed wondering if morning would even show up.

Childhood doesn’t end with birthdays — it ends the moment you realize the adults running the world might not know what the hell they’re doing.”

That is the first two paragraphs of my book, now titled Footprints in Time. If you bought the first edition, then you can check and see this is a very different beginning. Same truths, a different approach. NOW on Amazon.

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The Last Weekend of Summer and Keats had something to Say About It.

Summer’s packing its bags. You can feel it even if you pretend you can’t — the light slants different, the mornings have that faint bite, and the gulls over Rambling Harbor get louder like they’re arguing about the change. We’re standing on the last weekend before autumn officially strolls in on September 22nd, and there’s a strange sweetness in that. A kind of goodbye you don’t say out loud.

Funny thing: on this exact date back in 1819, a 24‑year‑old kid named John Keats sat down and wrote “To Autumn.” One of the most perfect poems ever put to paper, and he wrote it in a single burst, like the season itself grabbed him by the collar and said, “Pay attention.”

Keats was walking through fields near Winchester, England — not so different from the marshes and tucked‑away corners around here if you squint — and he saw the world in that moment between ripeness and decline. Not dying, not yet. Just leaning. Just shifting. Just becoming something else.

And maybe that’s why this weekend hits the way it does. Summer’s not gone, but it’s not staying either. It’s standing in the doorway, one hand on the knob, looking back at you with that half‑smile that says, “You’ll miss me.”

Here in Rambling Harbor, the air already has that early‑fall honesty. Kids are back in school. The ocean looks colder even if it isn’t. The neighborhood feels like it’s exhaling after August’s heat. You walk down the road, and the shadows stretch longer than they did last week. You know what’s coming — sweaters, earlier sunsets, that first morning you see your breath and pretend you’re not surprised.

Keats caught all of that in a poem written on a day just like this one. A young man, not yet sick, not yet famous, standing in the hinge of the year and feeling the weight of time without flinching. He didn’t fight the season. He didn’t mourn it. He just honored it.

Maybe that’s the trick. Not clinging. Not rushing. Just noticing.

So here we are, two centuries later, standing on the same date, watching summer loosen its grip. The last weekend before autumn. The last warm breath before the cool one. And if you listen closely — really listen — you can almost hear Keats whispering across the years:

This is the moment. Don’t miss it.

“To Autumn.” John Keats

Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss’d cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o’er-brimm’d their clammy cells.

Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reap’d furrow sound asleep,
Drows’d with the fume of poppies, while thy hook
Spares the next swath and all its twined flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours by hours.

Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,–
While barred clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies.

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Ken Kesey

Ken Kesey’s birthday rolls around today — kid came squalling into the world out in La Junta, Colorado back in ’35, but he really grew up wild in Oregon, the real Oregon, not the brochure. Him and his brother Chuck tearing down the Willamette River like they were trying to outrun the sun. Swimming, fishing, wrestling the rapids, wrestling each other, wrestling life itself. The guy was built like somebody who didn’t mind getting punched in the face if it meant a good story later.

In high school they tagged him “most likely to succeed,” which is funny, because Kesey’s idea of success was never the one the guidance counselor had taped to the wall. He goes off to Stanford to study creative writing — sure, fine — but then he ends up at the VA hospital in Menlo Park making seventy‑five bucks a day letting doctors pump him full of LSD and whatever other alphabet‑soup chemicals they were cooking up. Seventy‑five bucks in the early ’60s! That’s rent, groceries, and a couple nights of trouble.

He stuck around afterward as a night attendant in the psych ward, wandering those fluorescent hallways while the world slept. That’s where One Flew Over the Cuckoo’s Nest came from — not theory, not academia, but the real deal: human beings cracked open, stitched together, trying to make sense of the noise in their heads. The title came from an old kids’ rhyme: “One flew east, one flew west, one flew over the cuckoo’s nest.” Simple, spooky, perfect.

Pauline Kael said the book had the whole damn era packed inside it — Vietnam, campus revolts, drugs, the counterculture — all before the country even realized it was about to blow its gasket. Kesey wasn’t predicting the future; he was already living in it.

And somewhere in the middle of all that chaos, he fell in with a little San Francisco band called the Grateful Dead. They weren’t legends yet — just a bunch of long‑haired kids with amps that hummed like beehives and a drummer who looked like he’d been born in a thunderstorm. Kesey and the Merry Pranksters pulled the Dead into the Acid Tests, those wild, neon‑soaked nights where music wasn’t just played, it was summoned. The Dead became the house band for the psychedelic revolution, and Kesey was the ringmaster, the guy stirring the punch bowl and the consciousness of everyone in the room. Garcia once said Kesey didn’t just open doors — he kicked them off the hinges. And Kesey loved the Dead because they weren’t trying to be stars; they were trying to be free. It was a friendship built on noise, color, and the belief that life could be bigger than the box it came in.

Then Hollywood got its hands on Cuckoo’s Nest in ’75, and boom — six Oscars. Jack Nicholson grinning like the devil in a denim jacket. Kesey didn’t love the movie, but that’s another story for another windy day. He wrote Sometimes a Great Notion — big, wet, logging‑town epic — and later Sailor Song, which reads like Alaska got drunk and decided to tell you its secrets.

Kesey was one of those American originals — the kind you don’t get anymore. Half cowboy, half mystic, half troublemaker. Yeah, that’s three halves, but Kesey never fit in the math anyway.

And then there’s the interview — the one I watched again this morning. Not Merv Griffin. Not some slick 1960s talk‑show host with a shiny desk and a band in the corner. No — this was Charlie Rose, 1992. Rose in his suit, leaning forward like he’s about to ask the meaning of life. Kesey sitting across from him, older now, beard gone,hair gray at the edges, wearing a simple dark shirt, no blazer, no tie‑dye, just Kesey as he was — a man who’d lived through the noise and come out the other side with a grin that said he still knew a few secrets the rest of us hadn’t caught up to yet.

It’s a collision of worlds — Rose’s studio polish against Kesey’s Oregon mud. Rose wants to talk literature; Kesey wants to talk life. LSD, rivers, kids, stories, the whole messy American experiment. You can see Rose trying to keep it tidy, but Kesey keeps slipping out of the frame, like a fish that refuses to be caught.

That’s the beauty of it — two men, one chasing understanding, the other chasing freedom. Kesey’s grin says he’s still riding the rapids, still hearing the music under the noise. And somewhere in that studio, between the questions and the laughter, you can feel the ghost of the Willamette River rolling through the lights.

The link to that interview https://youtu.be/BJjNIoODO2k

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Mother Knows for Better Clothes — And I Hated Every Damn Minute of It

Mother knows for better clothes… it’s back to Robert Hall again.
That jingle was the soundtrack of doom every August of my childhood. You couldn’t escape it. Radio, TV, store speakers — like they were trying to brainwash us into being happy about summer ending. I wasn’t fooled. I hated it. Hated the jingle, hated the reminder, hated the whole back‑to‑school circus.

Summer was freedom. Bare feet, scraped knees, long days that didn’t care what time it was. Then suddenly some cheery voice on TV starts singing about “better clothes,” like that was supposed to make me excited to go sit in a classroom again. Better clothes? Who cared. I wasn’t trying to impress anybody. I just wanted one more week of sun, one more night of staying out too late, one more morning where I didn’t have to drag myself out of bed.

I remember telling a good friend of mine once — I said, “I hated going back to school. I hated summer ending.”
She looked at me like I’d confessed to a crime.
“But I thought you were a good student?”
And I told her the truth: “I was a good student. I still hated it.”

People think being good at something means you enjoy it. Not true. I was good at school the way some people are good at shoveling snow — you do it because you have to, not because you love it. I could read, write, answer questions, get the grades. Fine. But the whole ritual of “back to school” felt like being marched back into captivity.

And that damn jingle didn’t help.
It was like a warning siren: Fun’s over, kid. Get your notebooks.
Even now, decades later, I can hear it clear as day. The bright, chirpy voices. The fake cheer. The promise of “better clothes” like that was supposed to make everything okay.

It never did.

Summer always ended too fast, and school always started too soon. And Robert Hall — with their bargain pants and their relentless advertising — made sure you knew exactly when your freedom was about to be taken away again.

So yeah. I hated hearing it.
I hated going back to school.
I hated summer ending.
And I still think that jingle was one of the most effective pieces of psychological warfare ever unleashed on American children.

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    Joe Hill: The Man They Tried to Kill but Couldn’t Shut Up.

    Joe Hill wasn’t just a labor organizer — he was the kind of guy who could walk into a room full of scared, exhausted workers and make them believe they mattered. A Swedish immigrant, a wandering worker, a songwriter with a knife‑sharp tongue, he wrote the songs that turned picket lines into something like church: The Preacher and the Slave, Casey Jones, There Is Power in a Union. Songs you could shout over factory noise or sing under your breath when the boss walked by.

    Hill joined the Industrial Workers of the World, the Wobblies — the union that didn’t care about your race, your job, your skill level, or whether you had two nickels to rub together. If you worked, you belonged. That alone made him dangerous to the people who liked their workers quiet and scared.

    In 1914, Hill was arrested in Utah for a murder he almost certainly didn’t commit. The trial was a mess — no motive, no real evidence, just a man the state wanted gone. And they got their wish: Hill was executed by firing squad in 1915. But here’s the thing — the man refused to die properly. His last words were basically, “Don’t mourn. Organize.” And that line became a fuse.

    His ashes were scattered in every state except Utah, because the Wobblies figured he’d already spent enough time there. And every time workers stood up — miners, factory hands, farm laborers, nurses, teachers — Joe Hill was the ghost in the room, the voice saying, You’re worth more than they tell you.

    That’s why Joan Baez could stand on the Woodstock stage in 1969, pregnant, rain coming down, and sing Joe Hill like she was calling him out of the ground. And the crowd — half stoned, half soaked, all alive — felt it. Because Joe Hill isn’t a man anymore. He’s a reminder.

    You can kill a person.

    You can’t kill an idea.

    And Joe Hill was the idea that working people deserve a life.

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    Eleven Days in September

    A few thoughts here are hard for me to write, because they force me to relive some of the worst days of my life. I’m sharing them because maybe it helps the healing, and because it’s more than Mother Nature and her climatological shenanigans that make me hate September. I’ve never been a fan of the month anyway. And I know I’m not the only person who has been — or is — going through tough times. When you mix difficult life issues with a chemical imbalance called SAD (Seasonal Affective Disorder), life can become a Ulyssean train wreck of emotions, senses, and befuddled thinking.

    SAD is a mood disorder tied to seasonal changes, usually showing up as depression beginning in the fall and lasting through winter. It’s caused by a disturbance in the body’s circadian system. My condition is minor compared to what some people I know experience. I once worked with a woman who could cry at a funny joke — and she wasn’t pretending. And then there are the doubters who say things like: get over it; it’s not real; don’t let things get you down. This piece is for anyone who’s heard that too many times. I often think of James Joyce’s line: “Your battles inspired me — not the obvious material battles but those that were fought and won behind your forehead.”

    In June of 1997, summer — the season of good times and hope — shattered into a million heart‑piercing fragments. After a misdiagnosis that let her cancer grow unchecked, my wife finally learned the truth. By then, the prognosis was treatable but not curable. It would one day take her life.

    So we began living six months at a time. From one blood test and body scan to the next, we held our breath, never knowing if this time would be the last. We did that every six months for fourteen years.

    Jennifer began thirty radiation treatments in a row. The burns were third‑degree. She would lie curled on the floor outside the treatment room, in pain from the day before, waiting for the next round. I was always with her — holding her as tightly as I could, sometimes curled beside her on that cold hallway floor, trying desperately to absorb even a sliver of her agony.

    After radiation came two weeks of intensive chemotherapy. And then, almost a year later, as her body began to heal, she developed severe panic attacks. She couldn’t leave the house or be left alone. Once, I was gone for no more than fifteen minutes. When I returned, she was clinging to her chair, sweating, crying, begging me never to leave again.

    Jennifer was not a coward. She was strong. Brave. But the disease was killing her in ways no scan could measure. I had already quit my job in broadcasting. There would be other jobs — or not. I wanted to be home so she would never feel alone.

    By the end of 1997, we had at least put cancer in remission. With good doctors, counseling, and Jennifer’s relentless determination, she resumed what passed — at least to the outside world — as everyday life. Inside our home, we cocooned, believing that if we locked the world out, nothing could get in to harm us. The two of us were enough. And that’s how we lived — six months at a time, always together.

    I had my own ways of coping — music and writing. I learned to live not just one day at a time, but sometimes one minute at a time. I didn’t yet realize how deeply life was carving its marks into me.

    By the summer of 2009, traditional chemotherapy stopped working. Our six‑month reprieves ended with the doctor’s quiet words: “There is no more we can do to beat cancer back; it is spreading rapidly now.” I cried that day. But the worst day was still ahead. Suddenly, six months felt like a long time.

    One last treatment was available: a Phase 1 clinical trial. Jennifer agreed to try it. She said she knew the drugs probably wouldn’t save her life, but maybe someday they would save someone else. She joked that lab rats had better lives than she did.

    Jennifer had always been grateful that chemo hadn’t taken her long, beautiful blond hair. But these new drugs were brutal. Her hair came out in clumps on her pillow. I watched her body change from the vibrant ocean swimmer she had been to someone frail and barely recognizable. The woman who could outwalk and outswim me now needed help to move from one room to the next. The end was closing in. This would be our last summer together.

    And this is where a question began — one I still carry today: What did Jennifer suffer quietly, never telling me?

    I know she hid things. Not because she didn’t trust me, but because she loved me. She curled her pain inward so I wouldn’t have to carry all of it with her. I think about the fears she must have swallowed whole. Not the obvious ones — not the fear of cancer or dying or treatments that burned her skin and hollowed her bones. Those she faced openly. Those she let me see.

    It’s the quieter fears I wonder about — the ones behind her eyes.

    Maybe she feared becoming a burden. Maybe she feared watching me watch her suffer. Maybe she feared losing herself long before she lost her life — the swimmer, the walker, the strong woman who once outpaced me on any beach. Maybe she feared the shrinking of her world, the panic that made the front door feel like a cliff’s edge. And maybe — though she never said it — she feared leaving me alone in a house that once echoed with two voices.

    There was pain she hid too. The physical pain, yes — the burns, the nausea, the exhaustion that made her bones feel hollow. But also the humiliation of losing independence, of needing help to move from one room to the next. She tried to stand straighter when I entered the room. She tried to smile when she was breaking.

    I wonder what thoughts she kept from me in those last months. Did she count her remaining days? Did she lie awake listening to her own breathing? Did she realize before I did that we would not grow old together?

    I will never know. Her silence wasn’t distance — it was devotion. She protected me from the full weight of her fear, even when she was too weak to lift her head. That was her last act of love.

    Sometimes I wish she hadn’t. Not because I needed to know, but because she shouldn’t have had to carry any of it alone. I would have held every fear, every pain, every trembling thought. I would have carried it all if she had let me.

    But she didn’t. She was always like that — even at the end. Protecting me quietly, suffering quietly, loving quietly.

    And so the question remains — the one I will carry for the rest of my life: What did she endure in silence so I wouldn’t have to?

    I’ll never know. And maybe that’s the shape love sometimes takes — the part that remains unknowable.

    On September 14th, 2011, the hospice nurse who visited us daily said, “Maybe it’s time for inpatient hospice care.” She tried to soften it with “it’s not always a one‑way trip,” but I knew it would be. And so did Jennifer. Sometimes I wake up at night trembling, tears flowing down my cheeks as I follow the red taillights of the ambulance taking her on her last road trip. I have traveled every mile of that trip in my mind, and always will.

    I spent the next eleven days in hospice, sleeping with my arms around my dying wife, waking to the sound of her breathing or gently pressing my lips to hers to check for air. And sometimes, I heard the sound that still echoes in my head at night — the death rattle.

    On the morning of September 25th at 7:28, I didn’t have to check. Something felt different. The room felt hollow. Jennifer’s soul was gone. She had quietly slipped away sometime in the night. I wondered if she whispered goodbye and I didn’t hear. Knowing her, she probably didn’t want to wake me. Seminary never taught me this: the human soul is real. And hers had left the room.

    The first three years after her death are a blur. I drank — sometimes fine scotch, sometimes whatever I could afford. I wrote poems deep into the night and listened to music until morning. A neighbor joked that I was channeling Edgar Allan Poe. Maybe I was. My doctor prescribed tranquilizers, antidepressants, and sleeping pills. A shrink told me I had PTSD. I snapped: “You’re nuts. PTSD? I haven’t been in a war.” They explained that I had been in a fourteen‑year battle against an enemy I couldn’t see — and that I lost the one person I couldn’t bear to lose.

    I stopped the pills nine years ago. I stopped drinking ten years ago this December. I understand now: the dreams and flashbacks are part of a condition I’ll likely carry for life. And September will always be the hardest.

    My first major break — the first time I truly lost my grip — was when a little white cat named Chloe died. The cat Jennifer had loved so much. The last living, touchable thing I had of her. The day I lost Chloe, I melted down. I nearly wrecked the exam room. Two friends explained to the staff what was happening, and they kindly said, “Let him go. We’ll clean up later.” Chloe’s body became Jennifer’s. Just like that morning in hospice when I had to be pulled away from my wife.

    The most recent time was a few years ago, when Jennifer’s sister Gayle died. No one knows how important Gayle was to me. But in short: if there had never been a Gayle, there would have never been a Jennifer.

    Every day, I try to be happy. I made a poster I look at each morning: “The dream lives; you were her dream; be happy.” I was loved. Deeply. Fiercely. And she would want me to be happy. I try. I really do. But then September comes, and the battle intensifies.

    Still, I try to be as brave as she was — the woman who curled up on a hospital floor and still found the strength to fight. The woman who joined Phase 1 trials not only for herself, but for someone she’d never meet. She wanted us to grow old together. She wanted me to be happy.

    But damn you, September. Your fall beauty hides your cruelty — the short days, long shadows, lonely nights, and memories that never fade.

    I’ve survived fifteen Septembers without her. I will survive this one. And the next. Because carrying the weight of those years means I’m still carrying her.

    And I know I’m not the only one who has traveled this road. Grief has a thousand faces, and none of them walk alone. I hope that by writing this — by laying out the bumps, the breaks, the nights that nearly swallowed me — it might help someone else get over their own rough patches and keep on keeping on.

    I know if I can, they can.

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