A review of Get Thee to a Bakery

Thank you, Liane Kupferberg Carter for this lovely review of Get Thee to a Bakery. An excerpt:

“Rick Bailey sounds like an ideal travel companion. He’s endlessly curious, astute, and hilarious. All these traits are on dazzling display in his new book, “Get Thee to a Bakery,” a delightful blend of memoir, travelogue and creative nonfiction. This is the perfect book for armchair travelers, which, thanks to the pandemic, most of us currently are. ”

Read the whole review here:

Play It

I came home from school one day, my mother was sitting at the kitchen table with pencil and paper. 

“What are you doing?” I asked.

“I’m helping you think of a name for your band.” 

Well that’s nice. That’s what I said. Grateful she had stopped saying “combo.” What I also thought was: Is there a band anywhere in the country, anywhere in the world, that was named by the mother of one of the guys in the band? 

Bands were popping up everywhere. The British invasion was beginning. On TV at night we watched Shindig! and Hullaballoo. After school was a program called “Where The Action Is.” The theme song was called, oddly, “Where the action is.” Freddie “Boom Boom” Cannon sang: “Oh baby come on…” All I remember about that song is the chorus. “It’s so great to take your baby where the action is!” It was a song that needed only a chorus, written for that half-hour show, filmed in California (Malibu, of course), not far from the beach. 

The same acts cycled into the programming a couple times a week. Steve Alaimo. Who was he? Tommy Roe. Ditto? The Knickerbockers. Bobby Goldsboro. Every band in creation started popping up. The Lovin’ Spoonful, Wayne Fontana and the Mindbenders, The Ventures, Freddy and the Dreamers. My favorite was Paul Revere and the Raiders. They dressed in 18th century costumes, like before writing and recording their songs they had helped draft the US Constitution. “Kicks just keep getting harder to find.” They had long hair. 

“So what have you come up with?” 

My mother showed me her list, five or six possibilities. 

I felt my face go red as I scanned the list. “Neat Notes?” I said. Really? 

Naming the band was a little premature. We weren’t really a band. We were four boys each looking for the ability to play an instrument. Bob Young had a set of drums, a real set, with tomtoms. So he was good. I had used some money I earned delivering the Midland Daily News to buy an electric guitar at Whiteheads Music in Saginaw. It was made by Kent. No one that I knew or saw on Where The Action Is played a Kent guitar. It cost $79. I had also bought a cheap amplifier the size of a very small suitcase. Think airplane, carry-on. Roger Bill George made it known at school that he played the piano, so he was in. And Ronnie Fritz came up with an electric guitar somewhere, announcing his attention to play the bass.

We practiced in a front room of Roger Bill’s house–because there was an upright piano in that room. It soon because clear that Roger Bill could dribble a basketball and shoot layups, but he could not drive to the basket with that piano. If he had taken lessons, they had not covered “chords” in his instruction. Bob was competent, Ronnie played the E and A strings, the two fattest ones on the guitar, for bass effect. He did not have an amplifier.

I knew chords well enough to approximate a few songs. Gloria was in reach. Hang On Sloopy was on our set list. Eventually The Kinks’ Tired of Waiting. A song by the Beach Boys? Forget it. A song by Paul Revere and the Raiders? That wasn’t happening. The Beatles? I wanted to play Day Tripper. In the worst way, I wanted to play that. I could manage the riff, but then what? The bottom fell out of the song. There was no piano in Day Tripper. Also, I knew I couldn’t play that riff and sing the song at the same time. We concentrated on Gloria and Hang On Sloopy, playing those two songs at a couple school assemblies.

Gradually, very gradually, I began to realize that music was going to be my thing. With the exception of four lessons from Phil Woodcock, a guy who lived down the road from us, I was self-taught. I had a good ear. I learned some chords. I learned how to play bar chords. On Hullaballoo one night The Hollies lip synched “I Look Through Every Window,” a song with a catchy guitar intro. I wanted to do that. I wanted to play lead, like the killer treble string opening to Johnny Rivers’ “Secret Agent Man.” Anyone who asked, I said oh, yeah, I play lead guitar. But I was definitely a work in progress. 

How do you do that? I asked a guy who came to school and played with a band one day. How do you bend a note like that? He showed me. Back home I tried it. It hurt. You needed strong fingers, and calluses.

The name of that first group came from my mother’s list: The Troupe. 

I was going to have to do something about my hair.

The Geometry of Dessert

This one is for you, Mr. Frank, my high school algebra and geometry teacher from Freeland High School, 1966-67, 1967-68.  I think you’re out there…

Shown in these photos, pan de higo, a fig and almond cake from Spain. This exotic confection dates back to Muslim rule of Spain (711-1492), when, seeing the plentiful fig crop that was beyond the limits of human consumption, some ingenious Spaniards or Moors decided to squash figs and almonds together in a cake pan or pie plate–a form of some sort. You get the idea. They probably rolled it in fig leaves, set it aside, and let it dry. The result: a thick, dense, sweet, figgy, almondy treat. When you eat it, the seeds go pop! with each bite you take.

Continue reading “The Geometry of Dessert”

Yick

A Yahoo headline greets me this morning: “Study says cheese and red wine could boost brain health.” That’s good news.  Two things I like, and I’m all in favor of brain health.  The ten-year study, published in the Journal of Alzheimers Disease, involved 1787 people who participated in a Fluid Intelligence Test, “which provides a snapshot of a person’s ability to think quickly.”

Quickly? Typically I think: Quick, have another glass of wine. But red wine and cheese . . . together? Not in my mouth, thanks. I like red wine too much to risk sullying it with cheese; I like cheese too much to risk ruining it with red wine. 

Continue reading “Yick”

Elizabeth Holland asked me about writing

Think of all the life that goes flying past you on a daily basis, a lot of it funny, some of it painful, much of it slightly absurd. Lots of this stuff I want to remember. Like many people today, I want to write my life. Some capture these moments in diaries and journals. My essays are memory captures that dig down, exploring how these small details of everyday life resonate, how they trigger memories of other moments and events, how they relate to current events and literature, science, and history.

Here’s the full text of my Q & A with Elizabeth.

Spectrum of Flight, a review

Spectrum of Flight, David Hanlon’s new collection of poems, invites the reader to occupy an interior world—of pain, of struggle, of a search for a way to rise. These poems are intensely personal, some of them raw, many of them agonizing, as the speaker turns himself inside out, asking how a gay man can live in a straight world. Not just live in that world, but thrive, prevail, be free, be completely himself. Taken together these poems body forth a painful life story.

In roughly chronological in order, the over-arching narrative takes place in settings you might expect—in public and private places where identity takes shape: the home, the street, in classrooms and stores, where awareness of the body and desire gradually dawn on one. In the first poem of the collection a dead animal is the focus. The speaker, just seven or eight years old, sees a dead fox by the side of the road. Described as “the embodiment of abandon,” he sees himself in it: “because I too only came out in the dark,” “because I too had been gutted,” “because it was stillness after chaos.” In a poem entitled “Swimming Lessons” he is taunted, told he is gay. He writes, “they bully me / they think they know / the damage—they don’t.” In response the poet sounds a positive note in this poem, an expression of strength in the face of this adversity. He wonders “what they would say now / if I told them how lucky I feel / that I became / A strong swimmer.”

Early in the collection, early in this narrative of confusion and suffering, that positive note is a rare affirmation of self. More commonly the reader senses disintegration and struggle to forge an identity in the face persecution and derision.

In many of these poems predator images recur. The poet describes “lion-boys.” Here, for example: “the lion-boys think I run like a girl / I feel their clawed-grip tighten / tear my safety net to shreds.” In the poem “If only my body was made of stone” we hear a teenage boy described as a lion safe in his den, shouting from an upstairs window, “fucking gay boy.” Again and again, Hanlon’s sense of isolation is captured in a line like this: Them / in their maned coalition / boys / Them / in their feathered congregation / girls / Me / a neither.”

Hanlon’s prosody challenges the reader. There are poems with a flowing poetic line, sentences with syntactic completeness, that he pauses, interrupts with a slash. Here, for example:

I remember
being a teenager in that sportswear store with my younger brother /
too scared to ask / the sporty / muscle-manly assistant
for the Adidas cap I wanted / on the top shelf behind the counter /

And here, lines even more disrupted, from “Inhaling the Sky”:

Battered / weary-bodied
toothpick bones / clipped wings
alarm / flapping
unceasing mind-chatters
warm-buzz / anxious bees
fist pummel
collapsing into a ruinous truth

Then, as if to represent further the disjunction, the fracture of a self in a society that rejects him, Hanlon’s words appear on the page in a kaleidoscopic fashion, as something like shrapnel:

The violence in many of these poems is unrelieved. In the final poem, “Revive Yourself,” however, there is this positive note: “Remember,” Hanlon writes. Remember the pain, but remember too the possibility, “when you were a child / and you ran toward everything.”

It is an uplifting conclusion to this collection, suggesting flight not as fleeing from but as rising above.

Spectrum of Flight is published by Animal Heart Press.
It’s also available at Book Depository, Barnes and Noble, and other stores.
Please consider supporting your local bookstore.

Last Word, Good Word

So I’m standing at the sink the other night washing pots and pans. And I think “spatula” is such a strange word.  Who thought of that? In a novel I was reading a while back, I recall the description of a character’s fingers as “spatulate.”  That sounds Latinate, as in “of or pertaining to Latin in origin.”  

Hmmm, English. 

Continue reading “Last Word, Good Word”