December 4th, 2009


Interfictions 2 Virtual Reading

I've made the jump to Virtual Reality! Our very own Ray Vukcevich (author of "The Two of Me") has set up a very cool reading for Interfictions 2 in Second Life . Five authors (including F. Brett Cox, whose "Nylon Seam" can be found at the Interfictions Annex) will be reading, and I'll be answering questions and trying not to walk into walls.

Here's the salient information

Interfictions 2 Second Life Salon: Dec. 7th, 6pm PDT

Please join us for this special event devoted to interstitial writing and socializing with the Interfictions 2 authors. The Interfictions 2 Second Life Salon will be held in the Lacamas Reading Hall on Monday, December 7, 2009, starting at 6:00 pm Pacific (9:00 pm Eastern).

Second Life is the perfect location for the IAF to bring together boundary-crossing artists, writers, musicians, and creators of interstitial art.

The event kicks off with an introduction by IAF co-founder & Interfictions series editor Delia Sherman, followed by micro readings by our five authors, a Q&A session with the audience, and an hour of mixing and mingling for the audience and the panelists.

Our panelists will include:

* Delia Sherman (co-editor) with IF2 short story authors:
* F. Brett Cox (Nylon Seam: Read it Online at IAF Annex)
* Cecil Castellucci (The Long and Short of Long-Term Memory)
* Carlos Hernandez (The Assimilated Cuban’s Guide to Quantum Santeria)
* Will Ludwigsen (Remembrance is Something Like a House)
* Ray Vukcevich (The Two of Me)
* Tammy Domike (host, Jackson Street Books)

To join us at the IF2 Second Life Salon, just sign up for an avatar at (if you don’t already have one) and then click on the teleportation URL listed below. We look forward to seeing you there!
La Loge

Superior Donuts

Last night's treat was Superior Donuts, a new play by Tracy Letts, who wrote last year's run-away hit, August: Osage County--which I loved, loved, loved.

Letts is an old-fashioned playwright. His plays (these two, anyway) have the stately inevitability of Greek tragedy. Once the situation's been set up, the denouement is more or less expected. The wonder and suspense is in how it unfolds.

The cast list pretty much implies the plot. There's Arthur, a middle-aged guy (who looks extremely familiar to anyone who hangs around, as we do, with old folkies and SF fans and artisans) who runs the uptown Chicago donut shop his immigrant Polish father founded 60 years back. As far as the play is concerned, his only customers are a crazy lady who divides her time between AA meetings and the local bar, two cops, and the owner of the Russian DVD store next door, who wants to buy his donut shop and expand. The other characters are Franco, a young black guy who has dropped out of school to earn money to pay the gambling debt he owes to the local tough bookie, the bookie, his enforcer, and the Russian's laconic cousin Kiril.

So, yeah. Franco talks Arthur into hiring him, mops floors, learns to make donuts, points out that the lady cop has a thing for him, brings him out of the self-imposed isolation begun when he fled the draft in 1968 and smoked pot in Vancouver while his friends fought and were killed in Vietnam. And yeah, he runs afoul of the bookie and Arthur bails him out and there's a heartwarming scene at the end where it's clear that they've actually saved each other.

But it's a lot more complicated than that. This is a play about generations, about how weird the 2000's are for children of the 60's, how your past can color your present even when you don't think you even have anything to get over, how art can keep you sane--whether it's writing novels or going to Star Trek conventions. It's about class and race and being an immigrant and being a native. And this production is extremely well acted.

So I guess I loved, loved, loved this one, too.