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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 makes it 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." FromLao Tzu I try to

understand that the truth 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 Grilla play with music, is the story of

the first desegregated nightclub in the south. Foxglove is a retelling

of Tristan and Isolde set in the 1950s, with folk tunes.

 

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.