THOMAS LARSON

(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.

(Write or Die, December 6, 2023)

1.

I have a friend, no, a good friend, no, a devoted friend who, whenever a month elapses between our get-togethers, he emails me with a date to go walking, the same walk we always take in a beautiful, tourist-laden southern California coastal town beside the Sunset Limited Amtrak and Coaster rail line, ending up, hot and sweaty, our knees aching, at a vegetarian restaurant.

(Los Angeles Review June 1, 2023)

GENESIS • One hundred years ago, the most fearsome cultural critic in America was Edmund Wilson. Writing in 1931, Wilson noted in an essay that even though the Great Depression ravaged the country, “Americans still tend to move westward, and many drift southward toward the sun.” With economic displacement rampant, he thought our “westward expansion” had come to a “standstill.” Nowhere was this more tragically apparent than in San Diego, which he visited in 1930, the city where I’ve lived since 1982. With 150,000 people at the time, Wilson named it, inelegantly, “the jumping-off place.” What was it, he wondered, that magnetizes people to move here and feel suddenly unmoored? At first, the cause eluded him. But one consequence was clear: the suicide rate.

(Panel on Writing & Music, AWP, March 25, 2022)

The Blues Aesthetic of Albert Murray

To say that Americans in the 2020s are suffering from our tribal divisions is nothing new. But what of the divisions based in our hyphenation: African, Asian, Hispanic, Native, and the dwindling majority, white? These identities range from economic to ethnic to racial and extend further to gender and sexuality. But for each assembly there’s another category: the Other, the caste of that which your group is not. Such as Black is not White; Asian is not Native. And so on. Then there’s a third identity, which we might label trans: those who prefer an amalgam, a yesteryear phenomenon, the American. This singular cohort makes the most sense to me as a critic when I talk about the art of music and the art of writing about music

(3QuarksDaily July 12, 2021)

In 1994, Chauvet cave was discovered near the township of Vallon-Pont-d’Arc in southern France. The cave is a spectacular venue for the earliest known rock art made by our ancestors and in no way “primitive.” Deep inside the limestone cavern are hundreds of highly animated wall paintings of bison, bear, ibex, lion, rhinoceros, hyena, wooly mammoth, and horse, “signed” by the red-ochre handprints of the artists.