TheAdriatic45 I heard a voice when I was half asleep which said my name in my ear in a sort of reptilian hiss. I certainly believe in them. jeempc Nephilim were actually not human. tey were BOth Human and Angle born of spirit and flesh. the Watchers(Elohim) had sex with the daughters of man and created these tall ass nephilim which are half huma half Angle canadianStoner13 what if i was to say… this video describes what i dream of… i always have the same dream when im sick… this lizard thing, takes everything away… this dream has been with me for as long as i can remember… used to scare my so much as a kid… djknetics “And the WATCHERS from the sky saw the DAUGHTERS of men were BEAUTIFUL, and they BRED with them…and the CHILDREN were GIANTS who became RULERS, NOT of HUMAN flesh, they were called the NEPHELIM” Dhaune Anti – Logos is a person living in Slovenia his name is Danilo Žižmond he lives in Slovenia in Europe, here is the info on his whereabouts: Zgornji Lehen na Pohorju 19, Post Number 2363 Podvelka, he is the embodiment of all evil he is the Beast the 666, if there is anyone who can and wants to kill him please do it and do it fast we can save the entire planet that way.( for more info check the comments on my channel) stargate1990 i believe that reptillians have some sort of control over this planet both draconians in space and the reptillians underground who eat young people between the age of 10 and 23, i dnt mean to scare you but its true. the reason im skeptical about the brandon cory story was tht is was ment to be on tv and who controls the tv? hotmanhokage i seen one before it was riding a bike disguised as a man and i saw his eyes.i think my cousin is a reptilian because her eyes look like it all that all the time lescwilson I think u should consider that one of the qualities of these reptilians is known to be their cold hearted nature and that they’d kill u at the drop of a hat… for food…so don’t be so eager for their control lest u be farmed like veal or pork! LadyWennor Draconians happen to be my favorite cataloged species. Don’t care about their plans of taking over earth if that is the case. I find Draconians hot but if you ask me I always fall for the extream. ultraudv AHA!! u are reptile ! SVWillmer @ ultraudv… she is a reptile. She didnt begin with an ‘A’, also scenario is not the correct word to use. The correct word is ‘idea’. Also she seems to be ignorant of the fact that there have already been many films released with this ‘scenario’ as she dubs it. Her channel is lacking too, aka she is either a religious brainwashed idiot. Or a reptile. I’m going with the latter (Reptile).
SiriusStarSystem the Earth has always been hollow. In fact, most planets are hollow. A planet, which is formed when a star ejects lava-like material then forms as it spins and cools in space. The inside matter pushes outward due to centrifugal force, creating openings in the poles. There is a 1300 mile wide opening at the Northpole and a 900 mile wide opening at the south pole, the south pole has been frozen closed for about 12,000 years. 6 SiriusStarSystem the people who control the surface of Earth are not Reptilians but hybrids with 50/50 genetic split between human and reptilian DNA. they call themselves the Illuminati and they control the internet, including youtube and wikipedia. I don’t even know of anything that is truly run by the public. yes, anyone can edit and add information to wikipedia, but stuff mysteriously gets removed daily. Wikipedia is censored just like everything else. TheRevolution2014 play the audio to this video backwards it sounds like the king is saying something he says the real king lies……. segaman1000 if reptilians did ruled the earth they would never made a cartoon like this. this is the illuminatis work. a plan they have had for centuries to deceive the people turning away from christianity. believe the illuminati is real,not reptilians.
MuayThaiGuy93 I have hazel eyes and small teeth, but I’m not a reptile. Is there any credible evidence of this? I have seen none FrequencyFence Do your pupils morph from round to vertical slits and back again in mere seconds? Do your teeth morph from normal human teeth into jagged fangs and back again? Do your eyes change color from red to blue to brown to yellow to green in rapid succession? jeremystalked The reptilian screen memories in mind control survivors are placed there on purpose, to make them easier to handle. If your boss was a shape shifting alien lizard, would you f*** with him? No. That’s why they play these games with the MKULTRA/Monarch mind controlled slaves. To keep them from breaking out. zombiesngunz @urvil lol aragingstorm umm if u r making fun of it you might be a part of it
ever thought of that? guns240111 Time will enfold on itself,thru the DNA spirials and we seek the light.
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p.s. Hey. ** Ferdinand, Hi. Ha ha, that link says ‘Sorry, this content isn’t available right now’ too. A doomed quest. Yep, that sounds like pot. My story with it exactly. I feel sure you’ll find whatever goldenness there is down SA way. Yeah, I go to the US in early July, and I’m stressing the border crossing part big time. ** Misanthrope, Rigby must be buff now, which is a strange (but good) idea. Has anyone ever written a proper novel that only takes place during a single sexual encounter? Surely. The Interview thing is print only, yes. When’s the last time that happened? With big magazines, I mean. Oh, wait, contemporary art magazines are mostly print only actually. Never mind. ** _Black_Acrylic, Hi, Ben. Yeah, the street naming thing is most curious and rather inexplicable. He had a friend in some high place, I guess. ** Dominik, Hi!!! As little known as Metcalf is in the US, I think he’s really, really unknown elsewhere. One of these days somehow. The only time I ever ‘use’ tumblr nowadays is grabbing gifs because it’s still a popular gif housing site for some reason. One of the performers in ‘Like Cattle Towards Glow’ was this boy who only wore Rick Owens clothes, head to toe, all day every day. He was an Owens fanatic. We managed to strong arm him into wearing a normal shirt for his scene, but he insisted on wearing his Rick Owens pants. So maybe I can say to Mr. Owens, ‘Hey, your pants are in our first film’, and that’ll be enough? Glad you liked your love. Ha ha, I’d subscribe to that love’s Youtube channel, thank you. Love teaching you a hypnotic power that causes anyone you want to set up an OnlyFans account and only requires you to look at a photo of your chosen subject and snap your fingers, G. ** David Ehrenstein, Well, thank you. ** montse, Hi, montse! Oh, that’s okay. Life’s so distracting. I’m good. I’m vaccinated. The second shot did give me side effects — about six days of feeling hazy and listless — but I’m in the clear now. As are you! Congrats! It is weirdly relaxing, isn’t it? Well, I guess it’s not weird at all. Wow, that sell out was fast. The Protest Sonique Festival here, that I hoped to exploit heavily, also sold out instantly before I could get tickets. People are very hungry. So now I have to try to schmooze some comps somehow. I haven’t started ‘The Magic Kingdom’ quite yet, but its pdf is beckoning me from my desktop, so it won’t be long. Very lovely to see you, my buddy! ** T, Hi, T! Things are pretty good with me, thanks. Congratulations on finishing your training and getting to the place where you can work on your novel and tan and daydream to your own specifications. I’m starting to get ready for the first ‘post-Covid’ travel (to the US). It feels curiously daunting. I don’t know that Alice Oswald book. Hm, I’m intrigued, I guess with qualifications after your mixed review. My favourite Paul Metcalf novel, which is also one of my all-time favorite novels in general, is ‘Waters of the Potowmack’. Amazing! Man, the Friday you prescribed for me sounds so nice. Hard to live up to, but, you know what? I’m going to give it the old college try. I wanted to wish you a Friday like the world’s longest log flume ride (located in Dubai) but I couldn’t find a video of it even though I’ve watched videos of it slack-jawed many times so I fear I have to wish you a Friday like whatever your imagination thinks the world’s longest log flume ride would look (and feel) like. xo, me. ** Bill, Hi, B. I’ve heard of Grey Area. I’ve never been there though. I’ve put Ron Koertge’s poems in a number of group poetry-oriented posts, but I don’t think I’ve spotlit him, very strangely. But I will. He rules. ** Dalton, Hi, Dalton. Happy you’re feeling better. Obviously, heavy encouragement on the writing front. I’m someone who thinks you should write when you’re excited to and not force it or expect write in a routine way, but it’s true that one sometimes needs to get over that weird avoidance block/bump to get there. I’m pretty damned good at avoidance too, if I don’t say so myself. I hear you about the family stuff. I crashed at friends’ places and then moved out as young’s possible, which at least put a little distance on all of that. I feel about 90% sure that Vollman loves and was influenced by Metcalf. I’ll ask him if I ever bump into him. Good day to you too, and I hope yours sparkles. ** Corey Heiferman, Hi. Effective collaborators who don’t actually like each so much can work, right? I mean bands whose members hate each others’ guts stay together forever. But I guess there’s the money incentive in that case. I agree with your thinking there about the cross-pollinated clique thing. And writing-wise too. Good use of your noggin there, man. ** Okay. Here’s a goofy restored post from a long time ago for you just because. See you tomorrow.
“America’s frontier is endless, just as any other aspect of our past, our history, is endless, and endlessly available to us.” – Paul Metcalf
‘Certain books enthrall us, set us on a quest to discover more — not just the author’s complete bibliography, but the author’s influences and acknowledged peers. I think of them as gateway writers. — W.G. Sebald was one for me; because of my total admiration for his books I sought out I don’t know how many authors he mentioned in their pages or in interviews – Jean Améry, Alexander von Humboldt, Thomas Bernhard (did I already know Bernhard?), Adelbert Stifter, Gottfried Keller… Later there was Joseph McElroy, whose essays and interviews opened the door to truly dozens of books I might not have discovered until much later, or ever: Nicholas Mosley, Kleist’s Michael Kohlhaas, A.R. Ammons, Michel Butor’s Mobile and Degrees, Harold Brodkey, Galway Kinnell’s terrible Book of Nightmares, E.F. Schumacher’s Small Is Beautiful, and last but certainly not least, PAUL METCALF.
‘In turn, the work of Metcalf came to occupy the same central place in my thoughts as Sebald’s & McElroy’s before, and Metcalf became a gateway author for me.
‘Why Metcalf? Metcalf’s work plunges us headlong into the history of the Americas in all its manifest plurality. Using sophisticated montage techniques and synthesizing reams of material, always with a poet’s ear, Metcalf constructs versions of the historical record that resound into the continuous present. (The past is not even past, to paraphrase Faulkner; indeed, Metcalf’s achievement is in part to have captured that immediacy.)
Metcalf’s landmark works include :
–Genoa, 1965. Metcalf’s early novel, written after he had systematically read through the entirety of Herman Melville’s work (Melville was in fact an ancestor of his), explores themes of teratology (monstruousness, and anatomical pathologies), genetics, seafaring, and the elusiveness of identity (in particular, those of Melville and Christopher Columbus).
–Patagoni, 1971. Part travelogue, part meditation on mobility across the American continent, via Henry Ford’s invention of the automobile and the native mythologies of Peru, this is as weird and wild as anything Metcalf published. It is segmented into three discontinuous sections. Beautifully published by The Jargon Society — see picture above.
–Apalache, 1976. A kaleidoscopic exploration of the geological and human history of eastern North America, Apalache might be the pinnacle of Metcalf’s œuvre. The book’s epic scope and its inventive visual prosody are unsurpassable, in my opinion.
–Waters of Potowmack, 1982. A documentary history of the Potomac River watershed, from its discovery and settlement on up to the 1960s, Waters of Potowmack eschews the irregular prosody so characteristic of much of Metcalf’s work, in favor of simple blocks of prose. What we have here is a chronological compendium of a place. In a similar vein is Mountaineers Are Always Free! (1991), Metcalf’s short history of West Virginia (recommended).
‘Those are the big ones. But there are also a great many shorter works not to be missed, including Firebird, U.S. Dept. of Interior, Golden Delicious, and Both. And there are probably a dozen other short ones, in addition to The Middle Passage and I-57. More on these another time, perhaps.
‘Metcalf was never fashionable, come to think of it, although he did elicit the admiration of many of his peers, from Genoa (1965) onwards. I will be writing more about Metcalf, as I am writing an encyclopedia entry about his life & work. It’s going to take some time.’ — jsiefring
Paul Metcalf Way is a Street in the Lancashire town of Accrington and measures approximately 146 metres long.
There is only one street named Paul Metcalf Way making it unique in Great Britain.
Paul Metcalf Way is within the area of Hyndburn Borough Council Council who provide services such as refuse collection and are responsible for the collection of council tax .
The average elevation of Paul Metcalf Way is roughly 159.30 metres above sea level. with the highest point being 162.90 and the lowest point being 155.20. A change of 7.70 metres.
Paul Metcalf Way is located within the county of Lancashire which is in the North West (England) region of the UK. 181.83 miles North West from the centre of London, 19.14 miles North from the centre of Manchester, 27.48 miles South East from the centre of Lancaster and 33.38 miles West from the centre of Leeds.
____ Interview
John O’Brien: When you eliminate so many of the conventions of the traditional novel (i.e., plot, and sometimes even characters), what becomes the principle of unity? How do you move from point A to point B?
Paul Metcalf: The principle of unity is “the rose in the steel dust,” and I can be no more specific than to say that this is something inside me, and that effecting its transfer, from inside my skin to outside it, is the reason for writing (as well as the process). The pattern may be clear in its details—or nebulous, only vaguely intuited—but the pursuit, the delineation of its outlines dictates every step—or at least dictates what is point A and what is point B. Then—how to get from A to B—this is best done abruptly. I learned long ago, from a very wise man, that “the only real work in creative endeavor is keeping things from falling together too soon.” A corollary to that notion would be that, having held the structural elements apart as long as possible, when they do come together, let them really clang. And this is not work, it is only the courage to move abruptly. Nothing softens and muddies a piece of writing so much as what used to be taught in writing classes as “transitions.” Let the relation of your particles be implicit, discoverable by the reader. When you have accomplished this, you will have a quality that Guy Davenport has used in describing my writing: tensegrity (which, as near as I can make out, is one of Bucky Fuller’s neologisms, meaning that when you erect a structure, if all the lines holding it are taut or tense, it will stay up. Tension=integrity.).
It might be worth adding that one doesn’t always travel from point A to point B. It might be from A to point L, for example—with points B through K inferred.
JOB: To continue with these connections. Genoa, I think, is a tightly written book, each of whose pages seems to reverberate with echoes of other pages. I can see the smile on your face as you came across a passage in Columbus about feet or a line in Melville about heads: connections, Did you have to keep charts, listing such references, when you were writing Genoa? Did you consciously seek out material that would set up these echoes?
PM: I am flattered that you consider Genoa a tightly written book—this is as I would want it to be. And I humbly (proudly?) confess to the many smiles that crossed my face, as the rhymes and reflections emerged. No, I didn’t have to keep charts; my notes, although lengthy and complex, never exploded beyond 8-1/2×11 (almost entirely handwritten) . In developing the thing, I functioned pretty much according to the premise I outlined for Carl and Michael. I “intuited” the Columbus-Melville connection, by which I mean that a body of knowledge about them, of which I was only dimly aware, may have existed somewhere within me, and when I began to open it (i.e. , research the lives and writings of the two men), the revelations came as a series of confirming surprises.
I draw the line, however, at your last suggestion. I did not consciously seek out these echoes. I didn’t have to. They were all there. All I had to do was find them. And having found them, I then followed the dictum of Mr. Edgar Allan Poe: “There is no greater mistake than the supposition that a true originality is a mere matter of impulse or inspiration. To originate is carefully, patiently, and understandingly to combine.”
JOB: One of your methods for “combining” is juxtaposition, which you do not use as a substitute for clumsy metaphors but rather as a way of focusing sharply on the “particles.”
PM: I am much happier, and always have been, with the word juxtaposition than I am with metaphor. Another term I have used is mosaic, and my friend Don Byrd speaks of immense rhymes: “you pick up these unlikely chunks, and they do slip together, like a perfect tenon mortise joint.” And, yes, this is a constant in my work, this approach.
I think there’s a reason why Don uses the word “immense.” I’m not doing anything much different from a good poet, putting two words or two phrases together in an original way—or a good colorist in painting, Joseph Albers for example, looking for the chemistry of this yellow against this lavender, etc.; the difference is simply the size and proportion of the units I use: instead of words or phrases, I use whole lives, concepts, episodes or epochs.
JOB: In The Savage Mind Claude Levi-Strauss talks about the attention that primitive people gave to naming objects, which they then would put to magical uses, such as curing illnesses or freeing themselves from curses. He says that such naming and use of objects is of no “scientific” value but that these activities meet “intellectual requirements rather than or instead of satisfying needs. The real question is not whether the touch of a woodpecker’s beak does in fact cure toothache. It is rather whether there is a point of view from which a woodpecker’s beak and a man’s tooth can be seen as ‘going together’ . . . and whether “some initial order can be introduced into the universe by means of these groupings” (emphasis added). I want to ask whether your juxtapositions do not serve the same purpose—to group objects in order to create an order.
PM: I’ve thought a lot about this lately—the magic of simply naming things, and then the virtues (homeopathic, among others) of associating, perhaps in a new way, the named and/or described objects, episodes, histories, landscapes, etc. There is certainly a parallel here, between what I try to do and what Levi-Strauss describes among primitive peoples. In my books, it can be found in its simplest form in Zip Odes, which is nothing but names, regrouped; it is this philosophical thrust, I think, that gives a serious tone to what is otherwise a flippant book. It exists at a more sophisticated level, of course, in the other books, where rather than simply a single place, I am dealing with complex entities, histories, cultures, geographies, etc.
This is nothing that I ever set out to do consciously: to be “primitive.” It’s just that I’m sure there was an instinctive feeling, when I was younger, that the old European groupings, the associations and premises of Western civilization that we Americans inherited, were worn out, and that a new grouping and shaping, a new “rose in the steel dust,” based on a renaming and redescribing, was called for.
It’s interesting to see, among readers, whether this works or not. For Guy Davenport, it obviously does: speaking of the three major themes in Genoa, he says that I make “them touch just when they can speak in concert, disclosing ironies, deepening the intuitive evidence that there is a plot to American history.” For Robert Von Hallberg (writing in Parnassus, Fall/ Winter, 1978), the method obviously does not work: “Genoa is a mad book . . .this paranoid modernist view . . . Michael’s contrivances are hilarious . . .this outrageous book.”
JOB: Is everything in Middle Passage and Apalache taken directly from other sources without any changes or additions of your own?
PM: I did a little cheating there. There are places where I’ve linked things in my own language without so acknowledging. I would say that Middle Passage is substantially taken from other sources, there may be transitions, there may be occasional rewordings of my own, but very minimal, I would almost have to go through Apalache and see where I did what. I think that about the same would apply there. I occasionally made transitions or rephrased things, but where I’ve changed phrasing it’s certainly in the spirit of my source. I’ve never violated a source; I’ve never exaggerated a source or twisted a source to serve some purpose.
JOB: Then what constitutes your work? If not the words, then what?
PM: My work exists on several levels. It exists in the initial instinct which then becomes a kind of conception; to what extent conscious and to what extent I verbalize it to myself, may vary a great deal. It may simply be an instinct of putting certain things together which in the past have not been put together and which I feel have an organic association. I often have an idea of something I want to do or something I want to look for, and I start researching. I go through a great many books or a great many sources until suddenly I hit upon something and say, “Wow! This is it, this is what I’ve been looking for.” I may not even at that point know why it is that I get that “wow” response. All right, the original conception of wanting to do something—present an idea or present a sense of a place or a people or simply a philosophical idea—that is mine. And the material that I choose is an act of choice on my part which again is me at work. And thirdly, the way I associate the materials, order them, the relative weight I give them in relation to one another, the juxtapositions—all that’s my own work. And I think that’s a valid creative process. What am I doing differently, for example, from a poet who takes words and puts them together in a new way? He didn’t invent the words; the words are common property. Likewise, the conceptual material, the scientific material, are common property which I have selected. I am using chunks rather than individual words, It’s no different, really, except in the matter of proportion.
___ Book
Paul Metcalf Apalache Turtle Island Foundation
‘Apalache is a collage of texts taken from early American journals, exploration narratives, and newspaper articles that Metcalf uses to reconstruct American history in epic scope and form. Like William Carlos Williams before him, Metcalf freely mixes verse and prose.’ — TIF
‘This is one of the great long poems in modern American literature. Never mind that, to my knowledge, Metcalf didn’t ‘write’ a word of it (nor most of his other works), instead he treads like a jackdaw, like the great scholar he is, through various texts (conveniently credited at the back of the book), plucking out what he can use and composing, in collage-form, a poem that manages to capture the continent’s primal beginnings, its native heritage, its early European exploration & settlement, into a coherent whole, juxtaposing the vital language of these various documents against newspaper articles and other, more ephemeral, language, to form a work that appears sculpted and has its own rough music. This book really does belong with the others: The Cantos, Maximus, Passages, Drafts, ARK, “A”.’ — James Cook
_____ Excerpt
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p.s. Hey. If anyone would like to watch me, Amy Gerstler, Benjamin Weissman, and Tosh Berman talk about our days as members of a young, go-getter, early 80s writer gang hovering in and around the Beyond Baroque Literary Center in Los Angeles, you can. ** Dominick, Hi, D!!! I can totally see the old tumblr kind of look/vibe. Me too about the contexts. I just snatched them unknowledgeably from here and there. Well, yeah, Owens putting some dough into our film would be sweet. We’ll see. If he wants us to dress all the characters in his clothes, that might be tricky. Ha ha, what a beneficent love, thank you. How about love as baked as the cap wearing, head turning, charming guy sitting by the canal in Amsterdam, G. ** Jamie, Thanks, buddy. Nah, I smoked weed half-heartedly in high school, but after two huge LSD-caused mental breakdowns, weed started making me very paranoid even after a puff, so I nixed it from my lexicon. I’ve been to the cinema twice now, and it’s so, so, so nice to be there. Yeah, I want to do something with that ice video, but I don’t know what. Yes, Butch Vig was really nice. He told me a bunch of funny behind-the-scenes ‘Nevermind’-producing stories, which I’ve mostly forgotten now, drat. Nice Wednesday on your part! Mine, uh … I started writing a blurb for a book I agreed to endorse that’s due today. I started looking at notes for the new Gisele Vienne piece I’m going to write. I watched ‘A Quiet Place Part 2’. I didn’t see the first one, but I found it surprisingly good and effective and fun. And emails and stuff. May your Thursday outstrip even your Wednesday. Love, me. ** Tosh Berman, Hi. I watched the Hammer thing. Yeah, it turned out nice. Thank you so much for doing that, Tosh. ** Bill, Hey. Oh, wow, that CineChamber event(s) look very good. What is that place? Have you been there before. Seems pretty great. As I think I said yesterday, live gigs get the green light here starting next week, so I’m expecting a windfall of announcements. ** David Ehrenstein, Hi. Having seen Nico again later on, I would say she looked pretty good at the Whisky by comparison. ** _Black_Acrylic, Eek, fun. In the early 70s, long after I’d stopped smoking pot, I was living with my bf, and we let his older brother crash in our garage for a while, and, unbeknownst to us, he started growing pot in our backyard, and one day the cops showed up and arrested my bf and me for growing pot, put us in jail and everything. My bf’s brother was a coward who refused to admit they were his plants, and we were too nice to nark him out, so we were found guilty and had to attend nightly drug rehab meetings for six weeks. What a prick. ** Dalton, Hi! A family of potheads. That’s so interesting. I had a severely alcoholic mom, and I think that’s why I’ve never liked drinking alcohol. So, yeah. I did a lot, and I mean a lot, of LSD when I was young. I loved it. I had to quit because I had two really terrifying freak outs on it. Mm, for me drugs, or at least LSD, did have a massive influence on my thinking and doings a a writer. But I took it specifically to try to learn things that would help me be a ‘great’ artist. I’m not sure if it would have worked if that wasn’t my goal with it. And psychedelics are definitely not for everybody. And I would never take them now. I think I would go permanently insane or something. But I guess I buy into that idea you mention with qualifications. I’m good, how are you? What are you up to? ** Ferdinand, Hi, man. Oh, thanks, about the Interview thing. I tried to look at your photos, but it said ‘This Content Is Not Available Right Now’? If that gets fixed, I’d like to see them, natch. I hope your pre-trip prep goes well. You happy to be heading back south? ** G, Hi. Ha ha. Ah, I see, about your brother. Well, I hope he decides to make the big move. Since Albert has not changed one tiny bit other than being a famous sham now rather than a famous fake prodigy, I would definitely encourage anyone not to fall for her outreach. Nothing good comes from associating with her. If you look at the top of the p.s., there’s a link to the Hammer event right there. [the perfect love-themed gif] ** Steve Erickson, It’s true! I don’t know any of the pics’ contexts, or I guess I mean I don’t remember them if I did. Vague memory of that gun boy pic being from a new story about a boy — that very boy, I suppose — who was nice until he started doing drugs and then robbed some person or store or something, and I think that photo was subsequently pulled from his social media feed to illustrate his downfall? Ah, I think every theater here is open now. There’s almost nothing not open, and even nightclubs come back next week. ** Jack Skelley, Dude at your eyes that are looking at my eyes! ** Right. I think it’s very possible that Paul Metcalf is the most under-known, neglected great visionary American fiction writer out there. I would almost be willing to bet that no one reading this has read him or probably even heard of him. And that’s a crime. I’m spotlighting my second favorite novel of his today. No one writes like him. One of these days, he’ll get his due. Give him and the book some of your brain space today. Thank you. See you tomorrow.
Paul Metcalf Apalache
Now available in North America 