Question & Reply

Question & Reply painting by Nolan Winkler

(This article appeared in the Anderson Valley Advertiser June 2015)


Trust is a tricky thing. Long ago, I held writing workshops for groups of eight people meeting for two hours once a week in my living room, each course lasting eight weeks. At the outset, I would reiterate what I had explained to prospective participants when they called to sign up for the process: we would be doing my original writing exercises and there would be no lecturing or criticism or analysis of anything we wrote, by me or anyone in the group, and no one had to read aloud anything he or she wrote unless he or she wanted to.

Of the hundreds of writers who participated in these workshops over the years, nearly all believed there would be lecturing and analysis and criticism and judgment of their writing, despite my proclamations to the contrary. And almost all believed if they did not read aloud what they wrote, they would be made to feel stupid and ashamed.

By the end of the first session, there were usually two or three participants trusting they would not be criticized or shamed when they read or did not read aloud what they had written. But there were always people who needed three or four sessions to fully trust they would simply be listened to when they read what they wrote, and so they had to wait a long time to find out that being listened to by a group of non-critical people can be a deeply illuminating and inspiring experience.

And it was only when everyone in the group fully trusted that no one would criticize or be criticized, that we truly became a group and not eight individuals separated by fear and mistrust doing writing exercises. Everyone in the group would feel this momentous shift when the last doubter surrendered to the embrace of non-judgmental group mind. Talk about synergy! Talk about people taking chances, going deeper, and discovering things about their expressive talents they would never have experienced without trusting that anything they wrote was allowed.


I make a part of my minimalist living selling my books and music and art. Customers can buy things from me using their credit cards via my web site or they can send a check to my post office box or they can bump into me at the farmer’s market and give me cash. I have a policy, established two years ago, that I no longer send or deliver orders until I have the money in hand. Had I established this policy ten years ago, I would be thousands of dollars richer than I am today.

Why did I continue to trust people after numerous people did not pay me for goodies received? Because I prefer trusting people to not trusting people, and I was embarrassed to imply to my friends that I didn’t trust them. But the fact is, since most of my customers are my friends, most of the people who stiffed me, knowingly or unwittingly, were my friends. I think poverty and forgetfulness, rather than malice and greed, were behind most of the stiffing, but still.

Yet it wasn’t until a very close friend ordered several hundred dollars worth of books and music CDs to give as Christmas gifts, and I gleefully sent off the big package to her before I received her check (money I was counting on) and then I never got her check, though she claimed it was immediately cashed yet was unable to confirm who cashed it, that I finally installed my policy of having the money in hand before shipping the goods.

And, yes, I have since lost sales to friends infuriated with me for not trusting them, which is why I say trust is a tricky thing.

“Trust, but verify.” Ronald Reagan

When I moved to Sacramento in 1980, my neighbors told me that our neighborhood was so safe no one ever locked their doors and there had never been a theft of anything for as long as anyone could remember. And so I never locked my house or my car and I left my bike unlocked on the front porch, and for several years what my neighbors told me proved true, and life was groovy.

Then one night somebody stole a neighbor’s Volkswagen. And in a twinkling, everything changed. Everyone started locking their cars and locking their doors. I continued to leave my bicycle on the front porch unlocked, but then it was stolen, and thereafter I kept my bike in the locked basement accessed through a padlocked gate.

And the unexpected result of this rash of thefts, this new economic reality, was that my neighbors began to mistrust each other and me, and there were fewer block parties, life became less casual, and people spent more time indoors. It seems that once mistrust becomes the overriding modus operandi, it permeates everything.

Then I moved to a working class neighborhood in Berkeley and my neighbors told me there hadn’t been a theft of anything in the hood for as long as anyone could remember, at least fifty years. And until rent control ended and the dot com explosion rendered Berkeley unaffordable for most of my neighbors, our neighborhood was blissfully safe and crime free. But once the street was gentrified, robberies became commonplace and gloomy mistrust descended and life sucked.

Then I moved to Mendocino, and the first joke I was told by two gregarious locals who sat with me in the café and paid for my tea was, “Why do you lock your car in Mendocino? Because if you don’t, someone will leave a bag of zucchini on your front seat.”

So far no zucchini, though I never lock my truck.


Just Old

if my head sinks beneath the sea site

If My Heads Sinks Beneath The Sea painting by Nolan Winkler

(This article appeared in the Anderson Valley Advertiser June 2015)


















Late Spring

36 and Counting site

36 & COUNTING painting by Nolan Winkler

(This article appeared in the Anderson Valley Advertiser June 2015)


Nature brought us a treat two weeks ago, a young doe, resident to these woods we own a small part of, sauntered by the north-facing windows followed by two tiny fawns, their smallness amplifying their cuteness. Since then, the doe and her fawns have returned several times, the two babies larger each time, their movements ever more graceful and assured.

A couple days ago, I went strolling in our woods and unwittingly surprised the doe and fawns, the little ones leaping away with astonishing agility and speed, their mother standing between me and them and giving me a look that said, “My nest is near, please don’t come any closer.”

I think I know where her nest is, in a dense copse of thirty-year-old redwoods on the edge of our property, but I will not go looking there and risk permanently scaring her away. We made a decision when we bought this place to leave the land on the north side of our house as wild as can be so the deer and other critters will want to hang out there, and so far that seems to be the case.


On the same day we first saw the fawns, I was sitting in my very high chair at my very high desk at which I sometimes stand to work, when something out my south-facing window caught the corner of my eye, and before I could turn to see what it was my brain fired off the word kitten, for the thing was small and gray and moving with the uneven gait of a baby cat just learning to trot. However, the thing was not a baby cat, but a baby opossum, and though I would not call the adult version of that animal cute, this baby was hella cute, compact and fluffy, the nose already Durante-like in proportion to the body, the tail just getting going in its growth to becoming long and thick, the little animal still more kitten-like than rat-like as are the adults, rat-like in a Dr. Seuss sort of way.

My enjoyment at seeing the baby opossum immediately turned to fear for the baby because our cat Django is a large, persistently hungry, skilled and ruthless killer of baby mammals, especially baby rabbits and baby rats, and I imagined this tiny marsupial would be just Django’s cup of tea, so to speak. So I leapt from my chair and dashed into the living room where I found the voracious beast sound asleep on his tuffet, and I breathed a sigh of relief, though the fact is opossum are a scourge of my vegetable garden, rooting as they do for earthworms in the well-nurtured soil. Go get him, Django!

“Spring being a tough act to follow, God created June.” Al Bernstein

We had a foggy cold May, germination in my vegetable garden pathetic, the baby plants remaining nascent and wimpy for weeks on end from lack of sunlight and warmth—neighbors and friends pale and gloomy and cranky and depressed. Humans, clearly, are solar-powered. Don’t forget to take your Vitamin D.

On the first of June I flipped the pages on our two wall calendars, and as if the weather spirits had been waiting for the name of the month to change, the fog vanished and the sun came out and has been out every day since then—our baby vegetables waking from their suspended animation and stretching their fog-beleaguered limbs to the great giver of life to say, “What took you so long?”

Now every day is like waking to the next frame of a time-lapse nature movie, tomato plants doubling in size overnight, dormant perennials bursting forth with colorful blooms, hummingbirds zipping around the garden in blissful hysteria, zealous bees working the clover, everybody making up for lost time— neighbors and friends rosy and cheerful and kind and effervescent, the gals in the post office giggling, the bank tellers ebullient, the high school girls half-naked again after a month of suffering under hoodies and leggings.


We denizens of Mendocino are used to fog and long stretches of foggy days, but May is not usually a foggy month here, not in the nine years I’ve lived here, and not in the experience of several old timers I queried about the odd weather. But one longtime resident, a student of redwood ecology, suggested that our especially foggy May was a reaction to the continuing drought and extreme heat gripping inland California.

To paraphrase him: there have been many droughts in the last several thousand years, some lasting decades and possibly centuries, yet the redwood forests survived. How did they do that without much rain? They survived because of fog, which is what occurs vastly and persistently when hot dry inland air meets the cooler moister ocean air. Redwoods steep in the fog that refreshes their thirsty foliage and coalesces into drops that fall into the spongy duff or trickle down the trunks into the root masses.

Does this mean many more foggy days lie ahead, more than usual? Will May be a foggy month again next year as the great drought persists? We shall see. In the meantime, June is doing a splendid imitation of May, the blackberry bushes between here and town are so dense with blossoms I can already taste the blackberry jam we’ll make from the bounty, and the apple trees seem to have enjoyed cool foggy May, their branches full of young fruit. Still, the ground is perilously dry and we will want to water our younger fruit trees deeply a couple times this summer if we can possibly spare the water.


LA Jewish Money

Goody, Red, and William

My Grandmother Goody with Red Skelton and William Bendix

(This article appeared in the Anderson Valley Advertiser June 2015)


The Mendocino Film Festival took place these past two weekends and the little town was jumping with out-of-towners, some in the movie business, some wanting to be in the movie business, and some who enjoy watching movies on screens larger than postcards and wall calendars. Endemic rural funk collided with visiting urban slick, and being highly susceptible to ambivalent ambience, I avoided the commercial sector of town for most of the days the film festival was underway.

Didn’t I want to see the movies? Not really. The good documentaries are already, or soon will be, available to watch in the peaceful atmosphere of home, the fictional shorts shown at the festival are usually several years old and I’ve already seen the good ones, and listening to filmmakers pontificate about their creative processes makes my stomach gurgle, so no.

Which is not to say I don’t enjoy the film festival coming to town. I was involved in the movie business for several years in my salad days, and the vibe in the town when the film festival is underway brings back loads of good and bad memories from those tragi-comic years. For instance, on Saturday, in search of a good chicken to bake, I entered the Mendocino Market, a most excellent deli and sandwich shop across the street from the post office, and was greeted by an ambience I am deeply familiar with: LA Jewish Money.

I am Jewish, genetically speaking, and throughout my childhood I spent part of each summer with my Jewish grandparents, my mother’s parents, in Los Angeles. My grandparents were in the real estate business and many of their friends were in the real estate business and show business, those two enterprises conjoined since the birth of the film industry in Los Angeles in the early 1900’s. LA Jewish Money was the primary fuel of the American movie industry in the twentieth century, both in Los Angeles and New York. Indeed, LA (and New York) Jewish money has been the primary fuel for all of show business, with much of that money coming from the fantastic profits accrued from buying and selling and developing real estate in the greater Los Angeles area (and Manhattan and Miami.)

Thus long before I became professionally entangled with Hollywood, I had listened to and partaken of hundreds of conversations in which Jewish men and women discussed life and business with a vocabulary and style and energy that evolved over decades of first and second and third generation American Jews settling in Los Angeles to partake of the land and movie gold rush that made Los Angeles into the vast city state it is today. Jewish money financed most of the movie studios, record companies, Broadway plays, television networks, television shows, and magazine and book publishers in America from 1900 until today—Facebook and Google the inventions of smart Jewish boys.


Which is to say, when I walked into the Mendocino Market and found myself in the midst of a dozen gregarious young Jewish men and women, the men overweight and excited and funny, the women stylish and clever and droll, the air rich with frying pastrami accompanying those Los Angeles movie peeps buying bushels of cookies and wine and beer and chips and potato salad and pickled herring to go with their sandwiches, everyone talking loud and fast and sarcastically, I not only understood everything they were saying to each other, I recognized these young Jewish movie people as the great grandchildren, figuratively speaking, of the cohorts of my Jewish grandparents.

“Jews have a tendency to become comedians.” Sacha Baron Cohen

So if Jewish movie people are so smart and funny, why are American movies today so uniformly stupid and unfunny and downright bad? I think the answer lies in the word business. Artists tend to have little or no interest in business. And most good artists who become big successes have a businessperson taking care of business for them. If you are of my generation, you will remember when Joni Mitchell and Laura Nyro were major goddesses in the record business, but you may not know it was David Geffen who managed their careers and gave them the wherewithal to succeed. Business. LA Jewish Money.

Ergo: a good movie is a work of art, but the people in charge of financing and producing movies are concerned with profitability, not art. Thus a good movie is both a work of art and a miracle to emerge intact from the meat grinder of the ultra-commercial uncreative imitative movie business. This, I think, is the greatest irony about the movie industry and American culture in general. Smart people, very smart people, are responsible for the flood of dreck and mediocrity that is our culture today. Or maybe it isn’t so much ironic as tragic and pathetic and annoying.

“Jews don’t care about ancient rivalries. We worry about humidity in Miami.” Evan Sayet

When Dick Donner, born Richard Schwartzberg, was directing the movie of my novel Inside Moves, he kindly allowed me to hang out on the set in Echo Park in Los Angeles for a week during the shooting. While I was there they filmed several scenes lifted unchanged from my novel, and one of those scenes was an emotional tour de force performed by the gifted actors Amy Wright and David Morse.

At scene’s end, the spellbound crew and cast members and show biz visitors to the set burst into applause and the air was filled with shouts of Bravo, to which Donner responded by slowly shaking his head and saying, “Not if we want to get a distributor.”

Because the name of the game is show business, not show art.