And sometimes, something you want to see lands in your email box on a Friday evening:

And It Will Be a Beautiful Life is the third of my books to be so honored, joining Edward Unspooled (2017) and You, Me, & Mr. Blue Sky (2019), the romcom Elisa and I wrote together.

I've been at this long enough to understand that most awards and citations aren't unassailable vehicles of merit—the vagaries involved are considerable, and to see your work recognized is, in no small measure, a matter of serendipity. But at the same time, it's also validation, and in the long, lonely slog of writing and publishing, that's important.

What I like about the International Book Awards is that they're large-scale: a ton of categories, nonfiction and fiction, and a ton of entrants, from large publishers to small presses to authors who independently release their work. The egalitarian nature of the contest appeals to me, and I'm grateful that my book was honored.

Love it! What's the next question?

No, seriously, the great Chris La Tray asks some provocative questions and ponders the meaning of National Poetry Month (which we're now in) in his latest Substack piece. 

Quoting Chris:

This might be the wrong place to ask this question since you glorious subscribers are obviously anything but ignorant philistines in such matters1, but is poetry really an “important place” in the lives of many people? The running joke when it comes to poets is they are the purist practitioners of literature because they obviously aren’t in it for the money. Which sucks when you think about it. So I have to wonder: how many people really engage with poetry on a regular basis? How many people actually buy it?
​
The stuff that goes on around National Poetry Month is worthwhile, I just wish it wasn’t relegated to one month. April rolls around and people get all performative with their love of poetry, share links to poems published online or whatever, but where does it go from there? I encounter many people who tell me, “I don’t get poetry.” That’s fair. I didn’t “get” it for a long time either. When poetry had a bag dropped over its head and was rolled in a carpet and hauled off to the ivory towers to be enjoyed by only a stuffy few the connection to its roots was severed. I contend, though, that there is poetry for everyone. Everyone.

I'd like to just endorse all of the above, if I may. 

I, too, have heard the "I don't get poetry" bit, and I've probably even said it, although I will say, in my defense, that I was young and inexperienced and kind of ignorant. What I often say, now, when I hear that is, "Well, you listen to music, don't you?" That's poetry, man. And it doesn't have to be Patti Smith or Michael Stipe or Nico—but it should, it should be all of them and many, many, many more. Find the writers and the voices that not only speak to you but also impart something you're not going to find in whatever bubble you live in. Find the words of those who live other lives, have had other experiences, see the world with eyes different than your own. Find something that smacks you in the head with a ratchet. Something that moves you. Once you've got that, everything else is just a matter of form, be it song or sonnet or haiku or slam or whatever.

By inclination and profession, I go to a lot of literary readings, and given a blind choice—go listen to an unidentified poet or an unidentified writer of prose—I'm going to see the poet a hundred times out of a hundred. For the sheer chance of having your doors blown off, of being wowed by the substance and the sonic gelatin that holds it all together, nothing beats a poetry reading.

​Seriously, listen to Robert Wrigley here and tell me you don't want more. Tell me you don't want all of it.

One of the luckiest things about living where I do is that the place is thick with great poets. Great poets. Just the other day, we attended a reading by Tami Haaland, former Montana poet laureate (and our friend), and Elisa said it was "exactly what my heart, mind, and soul needed today." Yeah. Mine, too.

My brother-in-law, a well-regarded musician and recording engineer, in answer to a question of mine about what makes him sit up and say "holy (very bad word)" when he hears a voice, said this: "The emotion the musician channels."

So it is with poetry. That's the beauty. We needn't confine it to a month in spring. We need it every damn day.

Go get some at your local indie bookstore. Or use mine.​

Elisa and I are just back from a two-week vacation, one spent doing all the things one should do when granted such a release from ordinary life. We saw our favorite basketball team (a loss, but whatever), we ate good food, we hugged loved ones and old friends, and we explored a bit of the Texas coast. A damn good time.

And then, to finish it off, we headed to Santa Fe and said goodbye to Jon Ehret. Somehow, the world has kept on spinning since he left us on Aug. 21, 2021. He's often on my mind, always in my heart, and badly missed by everyone who grew to love him. On a late-March day in New Mexico, we raised a toast. It was beautiful. He was beautiful. And it made me wish, again, that he could have been at the table with us, noshing on good food and reveling in good memories.

I met Jon when I was 20 years old. I lost him when I was 51. We packed a lot into those 30-plus years. Just not enough. It would have never been enough.
​
Saying goodbye, though painful, was a gift. His celebration of life brought out two men I knew at a crucial point—at the same point, roughly, that I met Jon—when I was a youngster who needed some direction and role models in a career I'd chosen but didn't quite know how to get myself into. In 1990 and 1991, I was working as an agate* clerk in the sports department of the Fort Worth Star-Telegram. Jon, just out of grad school, was an editor on the sports desk, particularly gifted at page design, the discipline I fancied for myself and yet had never really done**. Frank Christlieb was a copy editor on that desk. Steve Waggoner was a copy editor and layout man. All three of them were heroes to me, along with an entire crew I can still mostly name, all these years later. Hille and Ed and Darrell and Dano and Doug (RIP) and Bullet and Sven and Lisa and Susan and Joe Mac and Joe and Coach and Tod (also RIP) and Brian (yet another RIP) and even my stepfather, Charles Clines, though we never made much of our connection while at work; we were too circumspect for that.

So, there I am, Saturday afternoon, waiting outside the venue where we're to say our goodbyes to Jon (dammit, I still cannot believe it), and Frank is the first one I see. It's been upward of 30 years since we've lain eyes on each other, but thanks to social media, it's instant recognition and a hug. Waggoner comes, too, and it's the same thing. Thirty years gone, but time, for a few moments anyway, has stood still and let us greet each other. Ana, his wife, same thing. She was there all those years ago at the Star-Telegram, and she was there Saturday, and it was nothing short of wonderful to see all of them.

And it was the next day, on the first leg of a two-session drive home to Montana, that I realized how Jon had blessed me with another gift. I got to hang out with those folks, to hear their stories and to tell mine, and maybe to impart in some way how much I was affected by being around them when I was a little pissant editorial scrub. Not because they condescended to me (they did not) or because they were especially nurturing (they sometimes were, but they had jobs to do that didn't involve nursing me along), but because they provided an example: Here's how the work is done, here's how you take it seriously, here's the difference between being diligent and being lazy, and here's what it looks like when you've done well. I carried that stuff with me to other states and other newspapers and other jobs***, right up until 2013, when I left the print business. I hucked those lessons onto my shoulders when I resumed my career as a journalist****. I was lucky, indeed, to have such role models at such an age.

And we were all lucky to have a friend like Jon.

As for the celebration of life itself, it was bittersweet, as such things tend to be. Jon was well loved by many, and they came out to toast him. Elisa has a really nice remembrance of him at her blog. You should read that. I gave one of the eulogies, which I'll mostly leave to the air that carried it, but there's one part, at the end, that I need to remember for the next loss that takes me to my knees. You live long enough, and they come:

I could rage against the fates that took him so young—when he had a son to see deeper into life, and a wife who loves him so and with whom he made common cause, and birds to tend to, and veterans to honor, and talents yet to be mined and developed, and chicken wings yet to debone.

And yet, I don’t. I’m not angry at the universe for calling him back to stardust, no matter how unfair the timing might seem. How could I be angry, when it’s the universe that gave him to us in the first place? He is my brother. He has been that since the first day he and I looked at each other and mutually acknowledged, yeah, OK, I’ll take a few spins with this wacky bastard. That was our call, our decision, and the vagaries of life and loss have no say in it.

Jon's still here. He's not accessible in the way that I would prefer, but he's with us. And we are with him. Always.

End notes
* — Agate, dears, is the small type you see in newspaper box scores and the like. At a major metro paper like the Star-Telegram in the early '90s, it was a full-time job to compile agate, set it, take call-ins over the phone, make a dinner run for the editors, etc.

** — I ended up winning some nice page design awards in my newspaper career, and I've done the design work on an esteemed quarterly magazine for nine years now. It's nice when aspiration meets opportunity.

*** — I went into all that in a Substack post.

**** — See this.

Here's a hard life lesson that writing has taught me: patience. It's a quality I don't naturally have in reserve, and that struggle to find it has benefitted and afflicted me in equal measure in what I do, how I relate to people, how opportunities have come to me, and how I've blown things by being too over-eager.

Writing, it turns out, doesn't much care whether you're patient or you're not. The actual act of it comes at its own pace, and sometimes you have to be patient in the extraction. You have something out on submission? Wait. You want an agent's attention? Wait. An idea isn't quite working the way you hoped it would? Set it down and wait. You think you don't have time? Sorry. You do. Wait.

​So let me tell you about Straight On To Stardust and how it came to be whatever it is now ...

Back in 2017, I had this idea for a novel I wanted to write: The basic premise—and that's all I ever have at the outset, which often results in a half-baked unfinished thing that validates Stephen King's idea that writing a novel is like trying to sail a bathtub across the ocean—was a guy with his father's lifeless husk in the bed of his pickup, his father's dog in the passenger seat, and a trip from Montana to New Mexico for the burial.

What happened from there is ... well, a lot of stuff that I'd rather not say here, because I hope you someday see the play. That's the real story, anyway. I started with an idea for a novel and ended up with a play. That's the arc. But the color and light of the story lie in the turns in between.

The novel idea died. As dead as the father in the back of the truck. I didn't get enough of it down to harvest the wreckage for a short story, which sometimes happens. Dead, dead, dead. Doornail. D-E-A-D.

So then a lot of stuff happened. I set it down. I worked on something else with my wife, Elisa. I went to a lot of plays, which is just about my favorite thing to do. I saw The Glass Menagerie, and then I read it, and tried to stare deep into the craft of the thing. And after a while I saw a different narrative approach to my dead story about a dead father. I was living in Maine now, and I started to recast the thing, straight dialogue and stage direction. I didn't have the slightest idea what I was doing, and I loved it.

That died, too. Or at least went into convalescence.

We came back to Montana. I finished a manuscript that had been languishing in Maine, something I felt good about but couldn't summon the energy to attack back there. Those were tough days on the East Coast, where we'd moved with great hope but hadn't found a way to make home. Coming back to Montana unlocked a lot of things. And It Will Be a Beautiful Life, certainly, but also my willingness to pull a half-finished play born of a quarter-finished novel out of the drawer and have another go.

This time, I finished it.

And my good friends at Yellowstone Repertory Theatre, god bless them, having seen a pandemic wipe out a season, did a table read on Zoom. That was a fun night, and there were many fine things said about my play, and also many on-target comments about how it could be improved. Notable among these was that it felt more like cinema than stagecraft, an assessment echoed by my Tony-winning high school friend, so I, of course, accepted that, even if I wasn't exactly sure how to address it.

So ... patience. I put it away and let it be for a while. I pushed down the road on two manuscripts that I hope to finish one day, then started and finished a third. We moved into our second year of being back in Montana. Life opened up. Delta and omicron came crashing in. And then, finally, in January of this year, my wife and I, for her birthday, attended a play for the first time in nearly four years.

Christian O'Reilly's Chapatti is a wonder. Two actors. One stage. Nineteen unseen cats. One unseen dog. The vast preponderance of the dialogue directed at the audience. Exposition out the ying-yang. The fourth wall taken down before the first curtain comes up. I loved every blessed word of it. And nestled among all those words were some ideas about what was ailing my play.

Earlier this month, I took a mighty swing at it and did a major revision. What happens now? I'm not sure. There's talk of a public table reading. I'm hoping for a production. That would be beyond any dream I had when I began writing it. I sure enough know I'm going to want to write some more plays, if I can find some properly propulsive ideas.

What have I learned? Quite a lot, actually. The most important thing: This doesn't happen without patience. I'm not naturally imbued with it, but man, I do appreciate what comes from being forced to find it.