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I want to tell ancient stories in a unique way. In this endeavor, I'm influenced

by a very odd group of characters, primarily Jorge Borges, Joseph Campbell,

Lao Tzu, and Raymond Chandler.

 

For Borges, mystery stories are the highest achievement of literature because

"there is nothing in the world that is not mysterious." Campbell is very clear

that ancient stories are still alive, that "the current iteration of Oedipus is

standing on the corner of 43rd street, waiting for the light to change." From

Lao Tzu I try to understand: the truth that can be said in words isn't the truth;

words can only point or suggest or imply. And for practical matters, what can

be more important than Raymond Chandler's instruction, "If in doubt, have

two guys come through the door with guns."

 

Which is to say that I hope to write stories that are more than they seem.

The Flap Tucker series is a loving parody of the noir ethos with Zen riddles.

Each Fever Devilin novel is a contemporary take on an ancient folktale.

The Christopher Marlowe books are all at least as interested in the

metaphysics as they are in spies. The current Foggy Moscowitz series

hopes to synthesize all these admittedly strange elements.

 

My theatre work follows the same path, elements of mystery and metaphysics,

with a hint of social commentary. Edward Foote is a twisted variant of the

Oedipus mythology set in Depression era Appalachia. Nick's Flamingo Grill,

a play with music, is the story of the first desegregated nightclub in the south.

 

In 1965, Miss May, my tenth grade English teacher, told me I should write.

I agreed. In 1969, my folklore professor, Dr. Burrison, told me to go research

Appalachia. I went. In the late 1970s, Joseph Campbell told me to use the

mythology to write. I did. That, in short, is how I got here.