Murderers Are His Life

September 2, 2013 by J. Nelson

Writing teachers are neurotic candy-asses. Not David Scott Milton

“All writing is re-writing.” Yeah, try telling that to someone who last wrote in blood.

Author and playwright David Scott Milton spent 13 years teaching creative writing at CCI, a “SuperMax” prison in Tehachapi, California. “Tehachapi,” as the facility itself is better known, has seemingly been around forever. It was built for inmates refusing to live by regular prison rules, murderers serving lengthy sentences, and men assigned to extreme isolation in high-security units, a.k.a. the controversial S.H.U. programs making headlines today.

Milton’s average Tehachapi class consisted of 15 to 20 lifers, most in for murder. I met him after he’d been hired to teach one of his classes about 80 miles north, on the Level III Yard at Wasco State Prison. By then, David Scott Milton was a veteran prison educator familiar with every risk, procedure, and personal reward his job could entail.

First off, for all the prominence of literacy and its rehabilitative powers, which we assume exists behind bars, you’d think creative writing courses would be better attended. They’re not. Though the power to save lives endures in the written word, a lot of the fellas incorrectly assume writing credentials come with the territory.

Yet you don’t learn to write in a prison writing class: you learn why it’s important to fight for the time to write, which sounds funny considering inmates are supposed to have nothing but time. But if there’s one thing true about prison, it’s that it’s one upended Hollywood cliché after the next. Read more

Elmore Leonard R.I.P.

August 20, 2013 by J. Nelson

The height of irony was devouring Elmore Leonard novels in prison.

If prisons produce better criminals, I was lucky to come out merely more sarcastic than when I went in. Elmore Leonard helped me get there – and taught me that exclamation points are worse than all the plagues in the Bible.

My family was, and still is, rather incisive, so when it came to the discovery of certain writers, I found authenticity in those who trafficked in quick comebacks and smartass remarks. Under the noses of bitchy nuns, schoolmate Chuck Miller and I traded copies of Don Pendleton’s pulp war-on-the-Mafia series, The Executioner. Pendleton’s stories were blunt and read similarly to how movies like The French Connection, The Seven-Ups, and The Friends of Eddie Coyle felt.

We were just kids then, gaining access to all this stuff through older brothers and neighborhood teenagers. Little did I know what Elmore Leonard would have in store for me. Compared to him, Don Pendleton might as well have been script-writer for Dragnet. Still, though Leonard would be the author to show me a celebration of the criminal spirit, I didn’t discover his novels until I myself was behind bars.

Reading Dostoevsky’s Crime and Punishment just prior to being sentenced was a philosophical turning point, the likes of which I hadn’t previously experienced. Devouring Leonard’s Maximum Bob while trying to drown out the sounds of cellblock idiocy was an comparable epiphany. Leonard’s criminals were very similar to those with whom I was housed: sarcastic, daring, flamboyant, smart, haphazard, mean, self-sabotaging, and double-crossing. They spoke of pistol-whipping, bad lawyers, booze, payoffs to cops, drive-bys, finders-keepers, knife fights, knife fights with women, snitches (both living and “dealt with”), hustling cash like there’s no tomorrow, and detectives, detectives, detectives! They were giant, fat, tired, old, young, short, stupid, one-armed, covered in ink, loud, and witty. Read more

New ‘Where Excuses Go to Die’ Chapter Excerpt

June 17, 2013 by J. Nelson

Good Men Project cracks the spine of Where Excuses Go to Die

As of today, there are three publicly available chapters excerpted from Where Excuses Go to Die. Two are located here, and the latest, over at The Good Men Project, where I’ve been invited to contribute.

If you’re interested in getting air-dropped right into “Big Forehead” Ernie’s world of interstate Grand Theft Auto, check out:

Over Her Dead Body

June 6, 2013 by J. Nelson 1 Comment

No way was photographer Vivian Maier gonna go out on top.

All images © Vivian Maier/Maloof Collection

For those unfamiliar with the Vivian Maier story, it’s a simple one that never changes. Vivian was a professional nanny who, in her off time, wandered around bad neighborhoods and metropolises snapping pictures of just about everyone from derelicts to fashionable women, cops, and lots of kids. Before she died in a Chicago nursing home in 2009, Maier had amassed over 120,000 images of strangers in streets, slums, and shadows. An extremely secretive woman, she never shared her activities, travels abroad, or any of her photos. With anyone. Not in fifty years of practicing street photography.

At the time of her passing, Maier was in possession of none of her work – not a single negative. This is to say, reel after reel of 8 and 16 mm film; personal writings and cassette tapes containing her voice recordings; personal observations on you-name-it; and seven hundred rolls of undeveloped color film. In 2007, it all had been forfeited to a storage company due to unpaid fees, for Vivian had begun this century almost destitute. She was powerless to stop the contents of the unit from being sold to a Chicago auction firm.

To those who knew her, or thought they did (namely, the grown children she’d cared for), she was a recluse, a hoarder, and a peculiar spirit. But to the many who now consider her one of the most prolific and talented street photographers in the history of the medium, she is an ambiguous monolith of isolation, genius, and resolve. Read more

Josh Blue is Where Excuses Go to Die

May 19, 2013 by J. Nelson

Creator of the “Palsy Punch” is still swinging that “arm”

In my love of all things standup, near the top of my favorites list is the sterotype-defying Josh Blue, who rose to fame on NBC’s Last Comic Standing. Cerebral palsy may have its grip on Josh, but his audiences see only the spirit and soul of a hundred three-legged horses rushing the corral gate.

Josh works to change our perceptions of people with disabilities by shoving, ‘er shaking, them into the spotlight and relishing the discomfort the rest of us must get past as a result. If you’re not familiar with Blue’s comedy, you’re in for an uplifting surprise – and not like, “oh look, the boy in the wheel chair made a funny!” His bits are as relevant to fans as airport TSA screenings. (His proposed “No Ham, No Fly” screening policy is brilliant.) Blue’s no Zach Galifianakis, which is good, especially since million-dollar paychecks don’t really measure comedic success when your stock-in-trade –an awkward physical presence– isn’t an act. And for the record, no material Galifianakis offers is nearly as original or free of artificiality.

If you subscribe to cable’s Showtime, you can catch Josh Blue: Sticky Change running ’til the end of this month. It’s workman-like, practiced comedic craft. And though no Internet clips can match “Sticky Change” for irreverence and hilarity, YouTube has no shortage of Josh Blue samples for you to check out. The best of ’em, I think, are those that challenge people’s comfort zones, like when Blue pretends to be homeless or approaches a random gangbanger on the street for help with opening a popsicle. “It’s hard to look hard when you’re opening a Popsicle!”

It’s reverse teasing, as he calls it: “I’m makin’ fun you, makin’ fun of me, by making fun of me –again– and somehow cripple comes out on top!” Ah, but don’t confuse Josh Blue’s self-deprecating humor with some condescending “It’s okay to laugh!” tour of your own stereotypes of physical disability. That element is there for those who need it, but everyone is first required to get over their pity reflex. This stuff is funny; not just funny-from-a-guy-with-palsy.

Josh Blue was meant to lead by example and lead he does, sometimes with a middle finger in the air. I can think of no comedian working a microphone today who brings together audiences more diverse than Josh Blue. He’s clever, witty, and tremendously admirable – not least of all for his refusal to make excuses.

Where there’s a will, there’s a Paraguay

January 17, 2013 by J. Nelson

If you care to be reminded how cringe-worthy our privileged bitching and moaning can be, watch this trailer for Landfill Harmonic, a documentary about Paraguay’s Recycled Orchestra, where the young musicians play instruments made from landfill debris.

As it was explained to me, “These kids have trash in their hands and look what they do with it!”

This folks, is one of the places where excuses go to die.

UPDATE: The Vivian Maier Phenomenon Continues…

December 16, 2011 by J. Nelson

Still humbled by John Maloof’s incredible discovery.

New Vivian Maier1 — So much happening, so little to go on. The absence of color allows the viewer’s imagination to go wild.

Inspired by: Vivian Maier and vivianmaier.com

Swearing off all usage of the phrase “shock and awe” almost as soon as I heard it helped me deny its imprint, so now it can land where it wants, such as with street photographer Vivian Maier’s recently discovered body of work. I am in shock that Maier could hide the outcome of a life’s passion from the world so effectively, and I’m in awe of the work itself. I’m also in shock that someone unknowingly found thousands of Maier’s photos and undeveloped rolls of film, and I’m in awe of that person’s willingness to rise to the occasion and share them.