THOMAS LARSON

(Times of San Diego August 2, 2024)

As a journalist and critic, I revise my work constantly whether in longform articles, personal essays, or a quickie on Twitter where I worry over the post a while, wince a bit, and send it. Of my crafted prose, I’ll draft a piece a dozen times, recast dozens of paragraphs, recalibrate and move dozens more sentences while phrases and words by the hundreds get cut, altered, rethought, and, if necessary, brought back from their burial ground. “All the writing matters,” the novelist Frank Conroy said.

I’ve noticed (for years) the opposite of the writer’s verbal practice is the lazy summaries and word salads of live TV reporters, especially the national outlets and especially during election years. Many in the profession strangle the language with clichés and bore us with fatuous analysis. Their so-called skill is to talk “off the cuff,” whose relationship to thoughtful journalism baffles me.

(La Piccioletta Barca June 15, 2024)

1 / For two decades, the Edinburgh University Press has been publishing a series of volumes under the group title, the “Edinburgh Companions to Literature and the Humanities.” Considering the "death of the humanities," declared far and wide a fait accompli, these compilations are brave undertakings, exhaustively conceived and handsomely produced. They weigh up to five pounds, run to 500 pages or more (Moby-Dick length), and are squintable in 11-point type. Reference tomes, morbidly expensive. One recent cast member is the Edinburgh Companion to Vegan Literary Studies, 422 pages at $165. The volumes are like valentines, sent to and from the professorial class: The mission is for scholars to bestow academic gravitas on beloved literary forms and authors. The audience is the English-speaking literate realm—the Modern Language Association horde and whatever its org is called in the United Kingdom. That audience (and curious writers like me) insists on academic writing. The learned “paper” confines and confirms a community of university-trained readers, who fetishize literary forms in prose stylings fortified with rhetorical distance and, at times, affected jargon.

(River Teeth May 10, 2024)

1 / One thing we learn from the later-in-life memoir, or the personal essay writ long, is that it allows us to see the many digressive routes we’ve followed only after a good deal of life has resulted in our “ending up” on any one of these routes, a place much different than where we thought we’d be. Soren Kierkegaard spoke of living life forward, understanding it in retrospect, and Carl Jung said, “One finds one’s destiny on the path one takes to avoid it.” Fate never fails us; it’s got our welfare in mind, but bugger that it is, won’t reveal the plot until, well, it’s time. Because of our unexpected “off ramps,” we need to wait a while and then we may recognize a plan—perhaps the plan—that provides us with some sense of meaning. At times, a pattern to our directionlessness emerges, and anyone, even fools, can say it’s been predesigned. Think of Donald Trump assessing his 78 years (I know it’s a stretch) as a kind of Destiny: the TV brand, elected President on a fluke, convinced that he’s America’s Lord and Fricking Savior.

(San Diego Reader May 8, 2024)

1. No California politician gets more blame for the denigration of the migrant than Peter Barton Wilson, now 91, last century’s Mr. San Diego. In this political year, inflamed by another crisis at the border, Wilson’s name — and legacy — is newsworthy again. Was the the man an architect of anti-Latino prejudice or a champion of state sovereignty? His pertinent history begins with three years as a Marine Corps platoon leader, followed by a Yale law degree (it took him four tries to pass the bar). San Diego Union journalist Herb Klein, later President Nixon’s speechwriter, encouraged Wilson to come west, where opportunities for a Goldwater Republican abounded. After a brief stint as a criminal defense attorney, he embraced politics, a career for which he seemed born, his persona nailed by a GOP pal: “coldblooded and cleareyed.” Wilson won every seat he ran for in the Golden State, except for one loss in the Republican primary for Governor in 1978. Even so, from 1966 to 1999, he was always in office: state assemblyman, San Diego mayor, two-term California Senator and two-term Governor. When Wilson retired in 1998, he’d proven himself a perennial winner, sunsetting with a 55 percent approval rating. This despite his great failure — Proposition 187.

(Assay April 1, 2024)

1 / My partner and I have seen many therapists over the years of our longtime commitment. We know such tune-ups are critical for our relational health; she’s a therapist herself, and I’m always willing. During sessions, we are reminded to practice what’s called “looping”—listening to the other and then repeating what was said. “I hear her saying that she’s sick to death of my grumpy moods in the morning and, what’s more, she’d like to have one day a week where we get out of the ‘damn house’ and do something fun.”

(Zero Readers March 31, 2024)

I’ve been on a journey the past five years that some writers who come tantalizingly close to publication know all too well. From 2018-2022, I worked on a novel, paid thousands to a professional editor, another thousand for a lawyer’s opinion of my legal liability, and landed a big-time agent whose name will be familiar to most authors in Southern California. As I went, I cut a seven-hundred-page monster down to four-hundred with solid guidance from the New York editor and the all-star agent. They read long drafts, suggested sizeable changes, pushed me to drop characters and deepen scenes, and commended my rewrites. I treasured the agent’s encouragement and tenacity, in particular.

(Ilford Review March 22, 2024)

1 / It took listening into my seventh decade as a musician and a critic, my life’s crossover passions, to arrive at the purest listening experience of classical music I have ever had; highlights of Sergei Prokofiev’s Suite from Romeo and Juliet (1938) and, in full, Dmitri Shostakovich’s Fifth Symphony (1937), performed by the Vienna Philharmonic Orchestra and led by the Czech conductor, Jakub Hrůša, at the Konzerthaus in Vienna. Surely I am not the first to have been so moved by these twentieth-century Russians in Vienna’s music halls, I thought. That feeling had previously alluded me as an American whose seated anticipation in stateside venues had seldom measured up to what I hoped it would.