Slow Down Everyone

There are lots of good things to write about, so it is with despondent irony that I am writing about something very bad for anyone who reads or writes. The something in question is “Spritz”, a new app or computer program or something that force feeds written material to you at the frenetically nauseating pace of three-to-five hundred words-per-minute.  The average reading speed for a well-read adult is at most 220 w.p.m. so this is a staggering 30-100% increase in the speed that words are flying from the page—er—screen—to your brain.

The creators of Spritz claim that this technology will revolutionize the world, make you a better person, improve your love life, etc. It certainly will change things if it catches on. If the boundless exuberance on my social media feeds is any indicator, people plan to finally “read” all the books they’ve been lying about having read for all these years. I put “read” in scare quotes, because after watching a sample feed of words at three, four, and five hundred w.p.m. I simply cannot buy that anyone who chokes down Gatsby, Lolita, or Infinte Jest on Spritz will have learned a damn thing. They might be able to name characters, outline the plot, even talk about what they liked and didn’t like, but the sweeping impressionism of Fitzgerald’s prose or Wallce’s asinine footnotes and re-references will be entirely lost on these one-word-at-a-time phonies.

Based on my brief demo of the program, I was almost unable to worry about the societal implications because my brain was teetering dangerously close to epilepsy. The words whir by so quickly that, even though it does work better than I’d like to admit, it feels like some sort of unsustainable warp speed that will eventually catastrophically fail when the center ceases to hold. After reading about five sentences at 500 w.p.m. I felt like I needed a breather. Which led me to miss two more sentences and wonder what happens if you have to sneeze or write down a favorite line (not that you can pick favorites when you can’t see syntax, etc.).

By sterilizing the reading experience, we are dehumanizing ourselves. Humans are unique in the elaborateness of their written and spoken languages, their completely-unrelated-to-survival artistic endeavors, and their hellish bent toward self-destructive progress. From nuclear weapons to hyperconnectivity to reading sans fun, we are remarkably proficient at taking good ideas several steps too far. Harnessing atoms to make energy out of nothing seems wise, especially with our insatiable appetites for electricity and the finite amounts of coal and crude available to us. Connecting all corners of the world has obvious advantages. Helping people dig into the classics who wouldn’t otherwise read at all is a noble cause. And yet, somewhere along the way, these have all become perverted.

We make energy out of nothing to level nations or mutually assure one another that such destruction is imminent. We are so connected that walking peaceably down a quiet street and being wholly present seems as quaintly archaic as black and white video footage of a soda parlor. And now, we are bent on eradicating the frustrating, relaxing, challenging, rewarding endeavor that is reading a good book. I wonder when Beethoven’s complete canon will be compressed into a minute-long ultradensesupertechnowunder soundbyte or when every Picasso painting will be downloadable straight to your hippocampus via GoogleContacts.

This is not technophobic or dystopic radicalism. It is a not-so-far-fetched look at what might happen soon, and, more importantly, a sincere “why?” What do we gain by ‘knowing’ great works of art if we haven’t engaged with them? There might be a hint of democracy to downloading the Mona Lisa since traveling to Paris is not exactly free, but everyone knows what she looks like. The pilgrimage to Napoleon’s Great Pillage that is the Louvre is as beautiful an experience as sitting on a blanket on the beach for three hours and reading barely ninety pages of Steinbeck’s densest storytelling. If we crush these slow joys and miniature (or major) vacations out of our lives in favor of efficiency, what will we do with the time we ‘save’?

I might could answer “get in more training time for triathlons” or “spend more time with people I love,” but how long until those things are somehow condensed (see the gimmicky workouts and workout machines that promise incredible results in minimal time) too? Until we learn to (re)value the process, be it of creating or appreciating art, of building, repairing, maintaining, we are going to watch the uniquely human aspects of our lives get marginalized until A.I. is not so Hollywood anymore. This is not strictly about robots becoming convincingly human, but about us forgetting how to turn pages and wrenches. And things are only enjoyable because they are counterbalanced by other things (there is a mechanical analogy here, but it is likely lost on everybody because our cars are too complex to bother understanding anymore), moderation the key to savoring anything at all.

The complexity of all our gadgetry has created a unique problem that could fill volumes of books, were they still being printed and sold en masse. Technology has become so good and improvements come about so quickly (cheers, Gordon Moore) that rather than maintaining it or learning how it works, we use it until it becomes unbearably irrelevant (oftentimes less than two years).

I’m not arguing against inevitability or standing on a Luddite soapbox.  Some things we cannot change or resist. But as long as we create the demand for great literature, architectural triumphs filled with artistic masterpieces, and keep putting pockets in our pants and shelves in our homes to stash the smartphones for a few minutes, we will maintain a degree of resistance to the fierce force of homogeneity that is the invisible forces behind technological ‘advances’. Read something printed on paper, be it a newspaper article or even ten pages of a great book. Walk outside for twenty minutes without checking your phone. Go to an art museum. Dedicate ourselves daily anew. Something like that.

and now for something completely different



Arranging a vinyl album, labor-intensive manual coffee brewing equipment, short story compilation, and bag of coffee beans for a photo is an intentional and somewhat laughable action. The items have little to do with each other except for that they are all favored by subscribers to a certain aesthetic affectation, or, at the very least, those who value affordable luxuries. And even though I will spend the first several hours of the day alone, not speaking a single word aloud, I can share a little slice of my life through the sweeping impressionism and ego-stroking that is Instagram. Though one can make plenty of compelling arguments for coffee, writing, and music as indispensable, in the basest sense of survival, none aid us in any way.

And yet, we spend money on hard-to-transport physical copies of music in the free and digital age, take ten minutes to make a single cup of coffee when a machine can do it faster and without our attention, sit down to read without anyone telling us to do so. Whether the alarm sounds at six AM on a weekday or a lazy nine thirty on a rainy Saturday morning, dropping the needle on some music, grinding some recently-roasted coffee beans, and spending a few minutes contemplating the process is a ritual I value immensely. My mind lazily wanders as it waits for caffeine, thinks about the musicians sitting in the studio and the sound technicians and the vinyl cutting factory, all the people and machines responsible for the soundtrack to my morning. I look at the coffee grinds blooming in their filter and envision Ethiopia or Columbia, misty mountain plantations where red berries burst from giant bushes, unrecognizable as predecessors to the black gold currently dripping into my mug. Who farmed it, who picked the berries and separated the best of the best from the Folgers, how did it get to the roaster?

There is a beautiful codependence in the world. Even on the collaborative album spinning in the other room, frontmen of two bands got together with filmmakers to score an artsy documentary on an aesthetic cult hero, Jack Kerouac. To get coffee into my cup, untold dozens of people did specialized jobs. Ditto to make the album that allows me to feel and to feel understood. In art, we express ourselves in terms other than the literal. And oftentimes we need that deflection to be honest or to get at something that speech alone simply cannot. Music in another language (or no language at all) is capable of moving us for a reason. Paintings, drawings, and sculptures cleverly circumvent the Babel Problem by foregoing language altogether.

So does art, then, serve a survival purpose by allowing us to communicate in some way with people who we cannot speak to for want of a common word? Lacking anthropological background, I can’t speak to this as a historically-backed truth, but isn’t that the point of true art? Unlike displaying Buddhist sculptures or tribal masks as “art” when their original intent was something decidedly more purpose-driven, true art doesn’t offer an explanation or a direct raison d’être. Instead, its creators have day jobs, patrons, or are fortunate enough to sell their work to people who want that daily distraction/inspiration/beauty in their own homes. They strive to express, whether to be understood or to tell others that they understand, or simply to compile the beauty or the ugliness in the world in a way that we can palate.

A Kenyan coffee gently scalds the roof of my mouth and I think about the flavors it reminds me of. This is no Proustian exercise in the time I had a Kenyan coffee at age seven and the thousands of pages worth of recollections it inspires, but rather a free associative exercise in the infinitely dissociated but connected world in which we live. I taste blackberries, some chocolate, a mild saltiness that allows the body of the coffee to last long after I’ve swallowed. It holds up beautifully as it cools, a cup of coffee for those of us who sip and ponder rather than slam and run. I could wax poetic endlessly on the terroir and how thankful I am that it rained in Kenya when it did and the farmers chose to dry the coffee cherries the way they did and how the roasters at Klatch in Upland really nailed it when they roasted on February 27th (a day that by purely perfect coincidence holds up as perhaps the best I’ve ever had). Coffee isn’t a science, there is too much chance involved. Like winemaking or whiskey distilling, it is an art in the truest sense, roasting until you hear the green beans ‘crack’ at the frequency that is most pleasing to your goals and personal preferences. It takes traveling to mountainous tropical regions and meeting farmers and understanding the varietals they work with and the way they dry their fruit to know what is expected of you as a roaster to maximize the beans’ potential. Even then, every roast is dependent on ambient conditions and the particular batch of beans inside.

Music is equally fickle and infinitesimally beautiful. Temperature and humidity affect the timbre of wooden instruments, what a person ate for breakfast can nuance their vocal chords or their mood when they decide whether to harmonize in a major or minor third on the second chorus of the third track of the day. There were infinite possibilities, but it all conspired to be the one that resulted. Jay Farrar and Benjamin Gibbard sing about a particular Amtrak line because moviemakers decided it was noteworthy after studying Kerouac’s life. That’s a lot of artistic co-dependence, and it makes a song whose plaintive displacédness resonates profoundly. Later on I’ll read the liner notes closely and realize that the subtle slide guitar in the background is being played by a famous virtuoso whose name only appears in the fine print if one bothers to look for it. I resist the temptation to think that I like the song more because I know this—avoiding the creator-creation issues that could spawn unabridged volumes of thoughtful consideration—but smile at the crafty humility behind it. It continues to rain outside as my hot coffee’s steam imitates the swirling clouds on the obscured mountains to my north. This is unduly pleasing, part of the cultural milieu we’ve created that says acoustic indie music deserves weather indigenous to its likely roots in the Pacific Northwest.

Whatever, the coffee I’m drinking was roasted just down the street in a sleepy industrial sub-suburb of Los Angeles, very near the area where Joan Didion set many of her most powerful essays from the anthology that lies before me. The sweeping impressionism may suggest bougie Portlandia aspirations, but the particulars are distinctly Californian. Didion roots rending personal honesty in a series of seemingly-unrelated arcana set in her surroundings. A master and founder of the ‘creative nonfiction’ movement, she puts so many brushstrokes over the factual snapshots she examines that the end result is recognizable but not familiar. I’d emphasize the creative more than the nonfiction, but the stories she uses to springboard into dizzying tales of drug use and depression are appallingly true. They are the sort of true that could never be believed if it were made up.

So when she makes an edict about the way we use all the information that flies at us, be it a tasty cup of coffee or the latest news story about something twisted and irrelevant, it is worth listening to. She has looked at it all with unprecedented access and an unblinking gaze that Nietzsche would call “true genius”.

We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the “ideas” with which we have learned to freeze the shifting phantasmagoria which is our actual experience

Whether that means slowing down and appreciating the sensory nuances of your meal, music, book, or artwork or trying to make some sort of poetic sense out of the breakdown of the California dream in the late 1960’s, a few moments of thoughtfulness can turn your lazy weekend morning routine into a mental vacation in its own right. And that is a large part of what good food and art are all about.

* * *

drinking: Klatch Kenya Makwa (AB) 22g/300g at 203 degrees in Kalita Wave

reading: We Tell Ourselves Stories in Order to Live – Joan Didion

listening: One Fast Move Or I’m Gone: Music from Kerouac’s Big Sur – Benjamin Gibbard and Jay Farrar


It’s Time.

Howdy all. I haven’t written here in quite a while and the bike trip has been over for a long time, but the writing it inspired is just getting started. At the insistence of some friendly competition from my friend at , it is time to get back in the habit of writing and sharing it with whoever may be interested.


Be advised that the content will be much more varied, less factual in nature, likely less censored, and all of the other disclaimers that one finds at the beginning of novels nowadays. Think of this site and That Dreamer as self-indulgent, free literary magazines that will feature everything from brief asides and poetry to lit crit to episodes that may be inspired by the bike trip or may be absolute fictions written for writing and entertainment’s sake.

Looking forward to getting back in the (writing/sharing) saddle.


She Sells Seashells

She knew her seashells all by name or by place. After unfurling a carefully folded handkerchief to reveal an impressive, hectic array of crustacean remains, she set about studying them as if for the first time, seeking the perfect one to build bohemian jewelry around.

I had taken a seat strategically across the aisle and offset from her tantalizingly empty table. The overwhelming array of scenery and humanity constantly refreshing itself in the Observation Car is capable of camouflaging even the most conspicuous characters. Like the spread of shells, there are so many beautiful, fragile individuals scattered throughout the car, all half-awaiting the next opportunity to strike up a conversation with another train rider. I took my seat, fumbled for my camera, and flipped absent-mindedly through my journal, captivated by the scenery that had startlingly shifted from ocean views to over grazed agraria. Her meticulously untamed golden locks had seemingly directed me to choose my seat—their total obfuscation of her downturned face only heightened the captivation. Something about the flawless creation and consumption of her avocado-heavy snack had me distracted from the mottled cows and bucolic green hills to my left, instead wondering what kind of person this was across from me and where she was going and why.

Then the seashells came out and another passenger whom I had already befriended jumped on the opportunity to make conversation. This was when I learned that she could point to any shell and immediately recall, “Italy, Hawai’i, Huntington, Thailand.” Consider my interest piqued. While observing this tentative exchange, I suddenly felt a searing pain deep inside of me. It was caused by a smile so effervescent and innocent it seemed completely out-of-context. It made me self-conscious. Its unbridled joy over seemingly trivial things illuminated dark recesses inside of me that I didn’t care to see. The sorts of things that can’t scare you if you can’t see them. The light continued to seep in, and it made me smile on the outside. But it also made me shiver and shudder and long and desire.

A rapid succession of words were exchanged, but I was still caught surprised deep inside, trying to make out all of the rarely-seen shapes among the blackness. I was invited to join at her table, which I clumsily, heartily accepted. I peeled my eyes from the inward mysteries to the outward mystique that I was now face-to-face with. Through all of these exchanges, she had not stopped working the waxed twine and seashell, idly crafting a necklace that could sell for a serious sum in the right locales. It all whirred by—scenery, subjects, conversation contributors. She had shared a humbling story of overcoming near-death illness, level-headedly raved about God’s greatness, and talked candidly about a recently-ended relationship, all the while beaming that searing smile. She gracefully photographed complete strangers silhouetted by the setting sun, carefully wrapping the gorgeous film SLR’s lens in another handkerchief. Everything was in its place, yet she was open and gracious and carefree. I had never witnessed such a combination of character traits as was now unfolding before me.

The organic ebb-and-flow of people in the Observation Car, the comfortable pauses and guts-spilling-before-formal-introductions, and the understood character traits of train riders…the alchemy of this situation was life affirming. An uninvited addition to our table momentarily crushed me, but quickly proved to be perfect. A young man who I still cannot quite understand, undoubtedly affected by some slight birth defect, sat down and began conversing with an earnest sincerity that rivaled her own.

“Do you guys want to paint?” The question was so ridiculous that it did not surprise me in the least, and suddenly the seashells had been replaced by a spread of solid watercolors, acrylics, and high-quality paper. I wondered what else could be in that groovy floral-print briefcase. The man rambled about his painting experience, the smiling girl just listened and smiled and made him feel like the most important man in the world, and I sat and surrendered any concern about artistic impression-making, instead embracing the cosmic perfection of this moment. I smiled at the sky more than once and scribbled out a most impressionistic rendering of the sunset happening to our left. Across from me, she painted a guarded, painstakingly detailed picture of a girl. He turned an initial amalgamation of colors into a venerable work that shamed even my best efforts.

When at last it was too dark to make any real progress on the paintings, we sat and lingered over them like a well-eaten meal, talking and sharing in a way that is rare among even best friends and kin.

“Who is someone that has cracked your world open?”

In a conversation that had been anything but shallow, the gravity of this question still caught me off guard. He asked it disarmingly, spurring a series of cycling stories and reminiscing and serious pondering. I settled on Paul, the man in Audubon Park who cut the small talk and asked the most piercing questions about my cross-country jaunt. As I sit here scrawling this, I realize that it may have been the two seated across from me, names fuzzy but faces and mannerisms bright as ever. We all went around and took turns answering, spending ten, twenty minutes apiece. A neighbor-listener even chimed in, trying to ascribe serious meaning to her cat. I smiled and listened, finding some sort of value in the preposterous normalcy of this response. I tried to exchange a knowing glance across the table to share some silent laughter, but was met with two smiles, each exuberant in their own way.

Some six hours into a twenty-six hour trip north, I had already had my world cracked open multiple times. As we closed in on a central coast town, she grew nervous about missing her stop and began to hastily but perfectly collect her belongings. I was gifted granola bars, fresh fruit, and an avocado for the remainder of my journey. This brought me back to the bike, when a free forty cent cookie could elicit tears of joy. We all exchanged names and numbers, for a reason that is still not quite clear. After handing hers to me and the painter, she quickly grabbed them back. God Bless! she added underneath the last four digits of the telephone number, and she really meant it. I hopped off with her, hugged a long, appreciative hug, and jogged around the platform to stretch my already-anxious legs. I was driven back into the train by all of the nicotine addicts viciously crushing cigarettes at alarming rates, returning to my still-strewn belongings well before the All Aboard whistle.

There was nothing romantic about those hours. I was taken down several notches by folks who were simply living their lives. I had many other disproportionately profound conversations on that train ride, for that is the nature of the beast. I met so many people for even brief spans who put their own little cracks in my ever-expanding world. In having the dark recesses of my innards illuminated by such a radiant smile, I was shown areas that I didn’t even realize I had, let alone that I could improve. I was also shown personalities that I had never encountered or fathomed. Ebullient, flawless people who are as happy as one of my self-described “redneck Canadian” hosts in Florida. His motto was one of the few tangibles that helped me out of my hammock on those cold, sweaty mornings when little else seemed to. I woke up above da grass, today is gonna be a goud day.

The pictures are here..

I have been scanning, sorting, and smiling for the past twenty four hours non-stop. About 98% of my film photos turned out in-focus and properly lit, which is always the most nervewracking part of the wait.. I tell myself that one of the beauties of shooting film is that you take every shot extra seriously and commit it to memory “just in case”, but the truth is that quite a few of these pictures surprised and delighted me with sights and subtleties that I never would’ve remembered without a quick memory jog.

I’ve added a “Photos” tab to the header right above this post and am working on populating that gallery with the best shots from the trip, in no particular order. I’ve attempted to insert a couple of especially appropriate pictures into the posts that they best correspond to, for what that’s worth. I realize that this page lacked pictures the entire time I was on the road, but hopefully they were worth the wait. I’ve enjoyed browsing back through my posts and recalling the raw emotions and candid admissions that I was typing out for strangers and close friends alike. So much more on that later, as per usual..

Still can’t come to terms with not being on the bike anymore, with not doing all of my originally-advertised route, and with more “civilized” life. I’m getting closer every day, which is actually the scariest part. Thankfully I’ll be back on the road (sort of) in a matter of days, if not biking, utilizing all means of transportation except for my own car and once again depending on the goodness of couchsurfing hosts for accomodations every night. I absolutely cannot wait.

I may try writing short posts based around certain photos that pique particularly powerful memories and see how that goes over. May just continue to stick them all over the place in a really disorganized manner.

The closest thing I’ve come to the serenity of touring since hopping off the bike has not been training on my road bike, but rather working various projects from the seat of a ’61 Massey-Ferguson Dieselmatic 65 tractor. I could write a novel about that wonderful machine, but I’ll probably turn it into some overly-stylized blog post instead.

Much love and vague optimism,



Six Degrees

In the couple of months since I created this blog to rant, rave, and sometimes describe my travels, these are the countries <with unblocked IPs> that have viewed this page. Some of them made me smirk as I knew exactly who it had to be; others really blew my mind as I still cannot figure out who I know in some of the countries that show up as repeat visitors… Really has my imagination racing, my curiousity piqued, and my desire to hit the road back at an all-time high. I wish I could come couch surf with each and every one of you. It’s amazing how many people I’ve met over the past few months (and years) and how many more each of them is connected to. Expect lots more writing in the coming days on this and other topics..


Got a call from Blue Moon Camera yesterday telling me that all of my film was finally developed and en route back to me, so look for pictures to start blowing up this blog in the next few days too!

Lastly, still trying to figure out how to get paid to ride the bike/train/hitch hike around…

Anyone looking for an unorthodox methods courier service? Willing to bid for outlandish stories/photos?



There is a heavy, lazy mugginess to the air. It saps of both energy and ability to care. A forcibly-mustered run through the streets of Tallahassee on this warm, overcast Labor Day feels hypnogogically surreal after two nights of subpar sleep and several days since I last felt conditioned air. Cats nap on rocking chairs and bar stools; a wanderlusted band of neoliberal NoFlo misfits paradies their own plight existance and restlessness on this so-called holiday.

History and personality fall away, following the rivulets of sweat down my brow and onto the sidewalk. What can’t quite escape is obfuscated by an increasingly unruly and formless beard. There’s really no need for context when all of your present is visible at once. For better or for worse, your narrative becomes you (in every sense of the word). Weather talk is no longer pedantic when it sculpts your days; wit is replaced by a well-timed story of travels and tribulations (or even a knowing glance at the touring hardware).

It is equally enjoyable and isolating to assume an inert identity, a subject that could be beaten to death a thousand times over. One may ask how or why it happens, but the untold volumes needed to explain the phenomenon would simply gather dust like so many useless heirloom keepsakes, clung to tightly for a “posterity” that prevents progress.

Thunder expectedly interrupts the peaceful weightiness. A cushioned chair and ottoman rock in unison, silently returning particulates to the air from whence they came. The rain comes, but on an off day it is welcomed not dreaded. Its unfeeling pitter-patter evokes Hawai’i…or was it Panama or Possum Kingdom?… the steady drone and unwavering humidity level suggest neither urgency nor change–it is easy to infer why so many become “stuck” here (and everywhere else).

A deep breath and a long gander at nothing in particular continue to reaffirm the idle hypothesis that the finish line is likelier to be intangible than physical and that this trip will never truly end. A blinding lightning bolt and eternal crack of thunder subtly suggest that dinner won’t cook itself, but I never was one for nuances.