July 19, 2010

“Ideas emerge from plays—not the other way around.”
Sam Shepard, born November 5, 1943
The above quote is from the introduction by Ross Wetzsteon to the paperback edition of “Sam Shepard: Fool For Love and Other Plays,” published in 1984 by Bantam Books. In the essay, Wetzsteon sets up the Shepard line above by first quoting thus: “I would have . . . a picture, and just start from there.” This impulse to visualize, Shepard went on, “is mistakenly called an idea by those who have never experienced it . . . . I can’t even count how many times I’ve heard the line, ‘where did the idea for the play come from?’ I never can answer it because it seems totally ass backwards.” Then Wetzsteon goes on to expand the idea by using more comments from Shepard and others. He begins with the playwright himself. “. . . once it goes off into the so-called meaning of it, then it’s lost, it’s gone away.” Asked to “explain” one of his plays, he says simply, “I think explanation destroys it and makes it less than it is.” Or, in the words of Jacques Levy, who directed several of Shepard’s early plays: “Sam is more interested in doing something to audiences than in saying something to them.”
Next Wetzsteon asks what is this “something” he’s trying to “do”? He again quotes Levy who describes what Shepard is not trying to do: he says it, “has no relationship to the purging of emotions through identification or total involvement”; he then calls metaphor to the rescue: ” . . . it is more like the way changing a room’s temperature does something to the people in it.” Others say that Shepard’s genius lies not so much in helping us understand what we don’t know as it is in making us feel what we know all too well. “Symptoms,” Shepard has said, are “things that show on the outside what the inside might be up to. “It’s probably more to the point to say that he provides us not with the symptoms but with the disease itself, not with the outside but with the inside, not with ideas but with the feelings that are their source.
According to Wetzsteon, there’s a quality in Shepard’s work that can only be conveyed by referring to dreams, the feeling that we have entered a world at once beyond rational comprehension and yet utterly familiar. “I feel something here that’s going on that’s deeply mysterious,” Shepard has said of the way he approaches a play. I know that it’s true, but I can’t put my finger on it.” “The fantastic thing about theater,” he has said elsewhere, “is that it can make something be seen that’s invisible, and that’s where my interest in theater is—that you can be watching the thing happening with actors and costumes and light and set and language, and even plot, and something emerges from beyond that, and that’s the image part that I’m looking for, that sort of added dimension.”
This “something”—this added dimension—is what Sam Shepard gives me in his early plays like Buried Child, Curse of the Starving Class, and especially his one-act play, Action. The following blurb is from the October, 2004, University of Maryland at Baltimore County production of Action as staged by the UBMC Theatre Department (as are the two production photographs).
“Action takes the audience right into the living room of a post-apocalyptic holiday. Liza, Lupe, Jeep and Shooter are trapped in a cold, isolated cabin after a mysterious “crisis.” Time has passed since the days of mass-media and indoor plumbing and they are struggling to pull off a holiday meal. Limited food, an uncertain future and overwhelming boredom begin to take their toll with disturbing and absurd results. In this hilarious marriage between the realistic and bizarre, Shepard offers a stirring look at the unplugged American mind.”
Action, which is included in this collection of Shepard plays by Ross Welzsteon, sure did something to me when I first saw it 25 or 30 years ago.
It is a perfect example of his approach to play writing as stated in his introductory quotes. Back then, I attended a local production of the play and was powerfully moved by the experience. But I came away with no idea what it was that triggered my strong emotional reaction. I couldn’t even figure out what the play was about, and certainly had no idea how he had pulled those feelings out of me. That intrigued me and I spent many days after the performance thinking about the play and talking to people about it. Even to this day, when I find someone willing to listen, I do that. At some point along the way, though, I finally realized that what the play is “about” isn’t important, aside from the fact that it exists to somehow involve me in the playwright’s creative process, which is manifest in how, after all these years, the work continues to intrigue and mystify me—as do the best so-called “classic” plays such as Death of a Salesman and Our Town which have the same effect on me, albeit in less intensive doses.
What I take away from this is that it’s a huge mistake to try to figure out what Shepard’s best work is “about.” Try to dissect a Shepard play and you drain away its life force—you kill the power of it, in the same way you destroy the effect of a perfect joke if you have to explain the punchline.
Copyright © 2010 Jim Sizemore.
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acting, actors, fiction, playwriting | Tagged: marriage, playwriting, theater, plays, family, food, playwright, action, image, fiction, dreams, love, domestic conflict, creative process, feelings, plot, ideas, emotions, characters, joke, Sam Shepard, Fool for Love, Angel City, Geography of a Horse Dreamer, Cowboy Mouth, Melodrama Play, Seduced, Suicide in Bb, Ross Wetzsteon. Sam Shepard: Fool for Love and Other Plays, play ideas, Jacques Levy, direction, identification, mysterious, added dimension, University of Maryland at Baltimore County, production photographs, post-apocalyptic holiday dinner, Liza, Lupe, Jeep, Shooter, meal, boredom, unplugged American mind, emotional reaction, intrigue, mystify, Death of a Salesman, Our Town, punchline, Dramadoodle |
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Posted by Jim
July 7, 2010

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Copyright © 2010 Jim Sizemore.
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Posted by Jim
June 21, 2010

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Copyright © 2010 Jim Sizemore.
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Posted by Jim
June 14, 2010

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Copyright © 2010 Jim Sizemore.
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Posted by Jim
June 2, 2010
Yesterday, I had another interesting encounter during my morning walk at Fort McHenry. It occurred on my second lap around the seawall trail, when I spotted an older guy I’ll call “Willie” up ahead. He is strolling with a young man whom I also recognize. As I pass them this brief exchange—reported more or less verbatim—takes place.
Willie: Good morning, Jim.
Me (Turning, walking backwards as I reply): Good morning, Willie.
Willie: Jim, this is my friend, Hud (Name changed).
Me (Still walking backwards.): Yeah, I’ve met Hud. (To Hud.) Mr. Hud KENT, right?
Hud: You can call me Mr. Superman. (We all laugh.)
Willie: They used to call me Superman, too, until I lost my power.
Me: And what might that have been?
Willie: The power to get an erection. (Laughs all around.)
Me: I don’t believe that for a second.
At this point, Willie turns off the trail and heads for the visitor’s center. I turn around and walk on ahead, several yards in front of Hud. When I reach the end of the seawall trail I reverse direction as I’m watching two swallows “courting” on the wing. They dart to and fro together, fast and low, skimming the grass.
Me (To Hud as we pass face-to-face.): Swallows are flat out CRAZY—they mate in midair!
Hud (Surprised.): They DO?!
Me (Laughing.): As far as I can tell.
Copyright © 2010 Jim Sizemore.
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doodles, humor, non-fiction, relationships, writing | Tagged: animals, Baltimore, birds, Clark Kent, couples, courting, Dialogue Doodle, erection, family, flying, Fort McHenry, historic site, history, Hud, humor, humorous dialoge, love, marriage, mating, morining walk, national monument, National Park Service, power, seawall trail, summer, Superman, swallows, travel, U. S. Department of the Interior, War of 1812, writing |
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Posted by Jim
April 24, 2010
“News photography teaches you to think fast.”
Weegee (Arthur H. Fellig), 1899 – 1968
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doodles | Tagged: 3-D, Arthur H. Fellig, bar, city, couples, crime, dating, death, drinking, family, film, kids, life, love, marriage, movies, murder, news photography, newspapers, Photo Quote, photography, relationships, reporting, urban life, Weegee |
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Posted by Jim
April 16, 2010



“Photographs open doors into the past but
they also allow a look into the future.”
Sally Mann, born 1951
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kids, photography | Tagged: animals, art, deer, family, future, hunting, kids, past, Photo Quote, photography, Sally Mann |
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Posted by Jim
April 9, 2010



“I have never taken a picture for any other reason than that
at that moment it made me happy to do so.”
Jacques-Henri Lartigue, 1894-1986
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photography | Tagged: art, auto racing, cars, couples, family, France, Jacques-Henri Lartigue, naked, nudes, Photo Quote, photographer, photography, portrait, relationships, speed, sport, vacation |
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Posted by Jim
April 2, 2010
By Jake Jakubuwski
“Readallaboutit! Readallaboutit! Gitch’er Sun an’ News Post papers here!”
That was my shout-out in 1950s South Batimore as I sold daily newspapers for a nickel a piece. My cut was a half-cent each, which meant that if I unloaded twenty a day, five days a week, I’d earn fifty cents for the effort. Now, I know that weekly half-dollar doesn’t’ sound like much, but you have to put it into perspective. For a kid today, having a paltry fifty cents in his pocket is the same as being broke. But in those days a nickel would buy me a Coke. A dime would score a hotdog. Ten cents was the cost of admission to a Saturday movie matinee, and candy bars were only a nickel each. So, compared to most kids I knew, my weekly earnings actually put me in a relatively enviable financial position when Saturday rolled around and it was time to take in a Roy Rogers or Gene Autry show at the McHenry or Beacon theater on Light Street.
My family wasn’t exactly poor, but there was no such thing as “extra money” around the house—unless it was for a pitcher of beer or a pack of cigarettes for one of the adults. But there were Christmas cards and birthday cards with a quarter and, occasionally, a buck in them. However, a regular allowance was not possible, so I sold newspapers, collected and sold “junk”, shined shoes, worked on fruit and vegetable wagons (the men who sold from those colorful horse-drawn wagons were called “Arrabers”) and I hauled groceries from the local supermarket for nearby residents.
When I was busy selling newspapers I worked from the corner of Light and Cross Streets in South Baltimore and “hawked” the papers from a bundle I carried under my arm. It was pure hustle. I’d walk the streets around Cross Street Market and hop buses, moving from the front to the rear exit, calling out “Gitch’er papers here!” flipping them from the bundle as requested, my palm up to receive payment, then making change from my jeans pocket, being careful to return small coins—nickels and dimes—hoping to encourage a tip. I’d get off the bus several blocks from where I got on and catch another one in the opposite direction. I had learned early on that if I wanted spending money, I could only depend on “me, myself, and I” to get it.
The old Cross Street Market, a wooden shed that burned down in 1951 and was replaced by the current concrete block building in ’52, is about six blocks south of the trendy tourist attraction that it is today called the “Inner Harbor.” Heading north from the market on Light Street today’s spiffy harbor area was not even a figment of anyone’s imagination in the early 50’s. On the left (west side) of Light Street towards Pratt Street, was the McCormick Tea and Spice Company, makers of Old Bay Seasoning®. No self-respecting Baltimore steamed crab eater would think of using anything but Old Bay on their crabs. Or, they’d sprinkle it on their shrimp and fish. It was—and still is, as we say in Baltimore—a “Balmer” thing.
On the east (harbor) side of Light Street were decrepit, abandoned
and rotting warehouses and piers. I can remember stories about the terrible things that could happen to kids in those old buildings. Whenever I passed through that section at night, I always made sure that I was on the “safe” side of the Light Street. Even so, I recall the trepidation I felt being alone there at night with few streetlights and deep shadows, sinister shadows that reminded me of the nefarious doings of Boris Karloff or Lon Chaney in the horror movies I’d spent my earnings to see.
Going south from Cross Street Market on Light Street was the old South Baltimore General Hospital, a jewelry store, a clothier, one or two shoe stores, a hardware store, two drug stores, a second five and dime store within the space of three blocks, and a restaurant or two. It was a great little shopping area that attracted tons of foot traffic and was an excellent place to peddle newspapers. So, long after the Federal Hill area had become decrepit, and long before the area was gentrified, I spent my money where it was appreciated—with the Cross Street Market area vendors—at the lunch counters and candy counters of Murphy’s five and dime—and, of course, at the movie theatres.
Meanwhile, at home occasions sometimes arose when an adult in the family would find it necessary to appropriate the money that I had worked so hard to earn. Once I remember being in the University Hospital for a hernia operation when my father (who at the time had been divorced from my mother for several years) came to visit. After about ten minutes he was ready to leave and only paused to ask if I had any money. I told him I had a couple of dollars and he asked to borrow it. He promised to pay me back on Friday, after he got paid. It was nearly three years before I saw him again.
Yep! Things sure were different for an ambitious boy back then. Not to go too “old school” on you, but if you weren’t a kid in those days, I doubt if you can appreciate how far half a buck could take you.
Copyright © 2010 Jake Jakubuwski.
Jake Jakubuwski spent nearly two decades as an active locksmith and door service technician.
He has been writing physical security related articles since 1991. Seventeen years ago, Jake wrote his first article for the National Locksmith Magazine and has been their technical editor for fifteen years. Pure Jake Learning Seminars©, his nationally conducted classes, are designed for locksmiths and professional door and hardware installers. For more information, click the “Pure Jake” link in the sidebar blogroll and under the “business” label. (And to read about Jake’s adventures as an “Arabber’s” assistant, see a short piece on the subject posted September 14, 2009 on this blog.)
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essays, kids, movies, non-fiction, writing | Tagged: allowance, ambitioius, Arrabers, Baltimore, Baltimore News Post, Baltimore Sun, Beacon Theatfer, beer, Boris Karloff, cigarettes, Coke, Cross Street Market, earnings, essay, family, Federal Hill, fifty cents, Gene Autry, gentrified, horror movies, hustle, Inner Harbor, Jake Jakubuwski, junk, kids, Lon Chaney, McCormick Tea and Spice Company, McHenry Theater, money, movie matinee, newsplapers, non-fiction, Old Bay Seasoning, poor, Roy Rogers, shopping area, South Baltimore, steamed crabs, supermarket, weastern movies |
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Posted by Jim
March 22, 2010

To purchase reprint and/or other rights for this cartoon, buy a framed print, or have it reproduced on T-shirts, mugs, aprons, etc., visit the CartoonStock website by clicking the sidebar link.
Copyright © 2010 Jim Sizemore.
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gag cartoons, love, marriage, relationships | Tagged: bedroom, couples, dating, dejection, depression, domestic conflict, family, gag cartoons, gags, love, marriage, ratings game, rejection, relationships, television, Today's Gag, victim |
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Posted by Jim