See More Beauty: Poetry According to Salinger's Glass Family

J.D. Salinger's scorn for academics is well-known. Take, for instance, the dedication that greets the reader of Raise High the Roof Beam, Carpenters and Seymour – An Introduction: “If there is an amateur reader still left in the world – or anybody who just reads and runs – I ask him or her, with untellable affection and gratitude, to split the dedication of this book four ways with my wife and children.” Here at Foothill, we're grad students, and when we go through batches of submissions we do anything but read and run. We read and reread poems, discuss, read again, sit with poems and meditate on them, let our thoughts marinate, and discuss them anew. In spite of this, I like to think that the way we read poems wouldn't generate Salinger's contempt. In fact, I think what we're looking for in our poems is pretty close to what Salinger was looking for.

Salinger made his thoughts on poetry known through the Glasses, the fictional family of child prodigies who peopled his last published works. Seymour, the eldest Glass child, was a poet who left behind 184 unpublished poems that serve as the standard by which his younger siblings come to judge poetry and art in general. We don't really get to read Seymour's poems, but Buddy, Seymour's younger brother and chronicler of the Glass family saga, tries his best to describe them: they “are as unsonorous, as quiet as...a poem should be, but there are intermittent short blasts of euphony...which have the effect on me personally of someone – surely no one completely sober – opening my door, blowing three or four or five unquestionably sweet and expert notes on a cornet into the room, then disappearing.” A poem, Buddy tells us, should be both quiet and loud – it's a subtle and precise craftsmanship that produces the most striking effects; it's an unassuming posture through careful articulation that clears the way for exuberant, drunken feeling and expression. And when a poet manages to do this, to borrow the words of Franny the youngest Glass sibling, he leaves “something beautiful after you get off the page.”

While we may not be the amateur readers for whom Salinger reserved “untellable affection and gratitude,” we are a bit like the Glass children he loved so dearly. We appreciate “terribly fascinating, syntaxy droppings” as much as the next, but what we're after is something lasting. We may be discerning and demanding, but we are also truly grateful for each time we witness something beautiful through poetry. And, like Buddy, who believes that Seymour's poems “can be read by anyone, anywhere, even aloud in rather progressive orphanages on stormy nights,” we're convinced that poetry and its beauty are meant to be shared.

Poetry in California

Can you really blame us for falling in love with a poem about a red bicycle on a day like this?

The Dog Days of Poetry

The Dog Days of Poetry

As both a student of literature and editor for Foothill, it is critical to approach both what I study in class and what I review for the journal with an unbiased eye. Long gone are the days when I could simply write off a poem as “good” or “bad”based solely on my gut reaction. Now, a nuanced approach is needed. Aside from the formalist value of a work, what does it capture about a state of being, an emotion, a cultural fixation, even the zeitgeist? As graduate students and eventual scholars, we are not simply arbiters of what is good or not, but investigators, charged with drawing out and interpreting the value and relevance of what has been, and is currently being, produced.

But. Academic goggles aside, there is a single topic that captures my heart every time. One that, if you are looking for it, is ubiquitous not only in English literature, but in Greek Classics, and all the way back to the first written communications on cave walls: dogs.

Our interactions and relationships with dogs is easily taken for granted. You, if not someone you knew, grew up with dogs in the home, and it is not uncommon to encounter them on a daily basis. Indeed, their presence is so normalized that the millennia it took to foster this bond –and what a bond it is – can be overlooked because of how natural it seems. But leave it to the poets to remember this, and to untangle and illuminate the subtleties inherent to the beauty, sorrow, and poignancy that exists in this most ancient and singular of relationships.

Poet Chase Twichell confronts this topic not only in her collection Dog Language, but her whole oeuvre is rife with it. Communion with animals not only enables us to confront out humanity, but at times, to be free from it. In her poems, riding a horse frees the soul from the husk of the body; an encounter with a deer or deer carcass – the head of which one of the dogs bring inside the home in one poem – can put us in our place; the necessity of brutally killing a garden snake to preserve the safety of the home illuminates the brutality of nature. These animals remind us of our human frailty; the dogs – companion to man but pure animal – serve as a link between the human world and the natural.

In “Soul in Space” the speaker says, “I want my obituary to say that/I wrote in the language of dogs” (for excerpt: https://poetrydispatch.wordpress.com/tag/chase-twichell/) (182). For Twichell, this language is one of intuitive understanding and non-judgment. To the former, Twichell takes dogs out of the corporeal sphere, drawing them not as earthly creatures, but cosmic beings. In “Cities of Mind” she writes,

Raised on classic myths,

I see the drift nets of latitude

and longitude on the night sky

inhabited by beasts and gods.

On Pegasus I fled the hunter,

the centaur, the satyr,

riding the star-horse out to free

the greater and lesser bears,

the major and minor dogs,

caged in their constellations. (187)

The poem’s subjects are time and history (portrayed through the writing process, an aging father, and the plastic decorations that appear at any birthday celebration). The poet, caged in time and the relentless pursuit of productivity, realizes at the end that when she can submit to the natural unfurling of time “. . . before you know it/. . . a jewel of history glint[s] in your eye” (187). When this happens, the poem opens up, the material world is abandoned, and history is laid out for the taking. This is when the speaker rises to the heavens on Pegasus, consorts with the animals of the constellations, and frees them from their cages. The dogs – both “major and minor” – are her last stop in this cosmic foray, a symbol of permanence and other-worldliness amid the human realm of fleeting time.

The non-judgment of dogs is exemplified in “Dog Biscuits,” where a father’s “secret violence” and his “escapades” are buried with the dogs (read and listen here: http://www.poetryfoundation.org/poem/181225). The mourners “each drop a few/dog biscuits into his grave.” The animism of this act positions the very essence of “dog-ness” as a thing of redemption. This father, mentioned throughout the collection, is painted in a respectful though dubious light. In “Dog Biscuits,” his abuse towards his dogs is mentioned outright, and yet it is with the very accoutrements of those dogs with which he is buried and in essence, forgiven. Where a dog is concerned, there is no past, there is no future, only the moment in time and the full, bodily experience of that moment. Their present-centered reality takes them out of time, and thus out of the world of resentment and scorn.

I actually encountered Chase Twichell after hearing a poem read by playwright Edward Albee (Who’s Afraid of Virginia Woolf?), and was struck by the similarity in content between his poem, “Samantha,” and the aforementioned poem (read “Samantha” here: http://tiptoe-marie.blogspot.com/2010/10/samantha-by-edward-albee.html. Also available in the anthology Unleashed). Told from the perspective of his late, beloved Irish wolfhound, the dog recalls the incidents of his death and his perspective on his human counterparts. Unlike the other-worldliness of Twichell’s dogs, however, Samantha (the speaker of the poem) is firmly rooted in the mundane, and it is through this straightforward simplicity that the transcendent qualities of her dog nature are revealed.

When she dies, she awaits her owners’ return from a vacation in Grenada; lays “curled in a frozen sleep.” Her owners “dug a hole and put me in it,” and much like in Twichell’s poem, they “baked clay biscuits for me/placed them.” Grandiose reflections on the nature of death are markedly absent from this rendering. But the slow, measured pace, the sense that this is occurring in real time and is not an obscure lyrical reverie, adds a gentle somberness to the dog’s recollection. Her reflections are simple. She is please to be laid on the point with the other dogs, “Poochie, Jennifer, Harry, Andrew, Jane,/and the cats,” and simply wonders, “Will [the grave diggers] be put here too?/On the point? By the ocean? With us?
/I hope so.”

Any dog owner will grow noticeably quiet when confronted with the reality of their dog’s mortality. Our closeness to them (we live together, eat and sleep together) makes them remarkably human-like, yet their lives are cut precipitously short in comparison with our own, forcing us to grapple with a loss that defies the trajectory we expect a life to take.The paradox of the dog, then, is in its essence of other-worldliness – wisdom, intuition, and the like – concurrent with a raw corporeality. To this point, Billy Collins’ “Dharma”comes closest to pinpointing the dog’s quintessence (read and listen here (queue to 2:48): http://writersalmanac.publicradio.org/index.php?date=2010/06/05). He writes,

Off she goes into the material world


with nothing but her brown coat

and her modest blue collar,


following only her wet nose,


the twin portals of her steady breathing,


followed only by the plume of her tail.

If only she did not shove the cat aside

every morning

and eat all his food

what a model of self-containment she would be,


what a paragon of earthly detachment.


If only she were not so eager 
for a rub behind the ears,


so acrobatic in her welcomes,


if only I were not her god.

John Updike said: "Billy Collins writes lovely poems . . . Limpid, gently and consistently startling, more serious than they seem, they describe all the worlds that are and were and some others besides." True, yes. But Updike could very well have said this very thing about dogs, “more serious than they seem, they describe all the worlds that are and were and some others besides.” They both raise us up to cosmic heights while reminding us of the earth below, and all the while remain constant, loyal, and silent in their multitudes.

Not all poems are great poems. But if it’s about a dog, it’s good in my book.

Twichell, Chase. Horses Where the Answers Should have Been. Copper Canyon: Washington (2010).

Hemple, Amy; Shepard, Jim, eds. Unleashed: Poems by Writers’ Dogs. “Samantha,” by Edward Albee. Three Rivers: NY (1994).

Collins, Billy. Sailing Alone Around the Room. Random House: NY (2001).

The name's the thing

What’s in a name? For a poetry journal, a lot. Or so it seemed to us. Settling on Foothill was the first major decision we made as a group.

We looked to several literary journals for inspiration. Their titles ranged from the wildly inventive to the mundane: The [insert name of university, town, or region] Review. Our discussions on a name were, much like those for a masthead and logo (see below post for March 9), at times tense, at times fruitless, but always respectful and spirited. Similarly, we wanted the name (somewhat like the masthead and logo) to reflect our concept: a journal celebrating the work of poets laboring through a difficult stage in their development toward something, well, higher.

Everyone contributed names, and to venture one took some amount of courage: the best met with contemplative nods and non-committal “that’s not bad”s; the worst, laughter. Below is a list of the top 10 we voted on (in no particular order) accompanied by notes from a meeting where we went over literal meanings and a few cultural evocations.

Promontory: land the juts into water.
Foreland: land in front of a geographical feature.
Embers: related to CGU’s the Flame Magazine, glowing coal in a dying fire, the name of a bankrupt pizza chain.
Foothill: low hill at the base of a mountain, name of the road that runs by campus (route 66).
Skyline: outline of a structure defined against the sky.
Right turn on Red: In Annie Hall Alvy Singer says this is the only cultural advantage of living in Los Angeles.
Sparks: related to the Flame magazine, fiery particles, a disgusting alcoholic energy drink produced by Miller.
Germinal: a germ cell or embryo.
Inceptivus: Latin for “to begin.”
American Elm: rare trees that line streets in Claremont.

Inceptivus? you ask. The disgrace is mine. For shame.

What we were going for was a name that wouldn’t disappear among the raucous jungle of exotic titles, nor one too bland and forgettable, nor too irreverent. We wanted a name that was precise and clear. Foothill. As Brendan described it, Not a home run; more like a double.

We’re in scoring position, at least.

Red Lemonade

This is a technology/movement to track. Though still in the pilot phase, Red Lemonade, powered by its Cursor software, is "a publishing community of fiction and highly narrative non-fiction. We avoid labeling what we do but it tends to be risky, socially charged, misbehaving stuff. Red Lemonade is for the writers other publishers are afraid of.

But Red Lemonade is also a pilot for a massively ambitious adventure, to create a new platform (part webapp, part business process) for independent publishing, combining the best of editorial judgment and publicity moxie with community input into acquisition and promotion, and combining the tradition publisher/retailer process with digital publishing and limited editions."

They don't do poetry, but it is a natural next.

F.A. Nettelbeck

Brendan,

I like your post on cowboy poetry. What would Gertrude Stein think: A chapped hyde is a chapped hyde is a chapped hyde?... doubtful.

In any case, the real reason for my post is to alert the entire Foothill staff about the release of F.A. Nettelbeck's posthumous book of poems... http://lokidesign.net/2356/2010/11/four-minutes-to-midnight-issue-eleven—happy-hour/... check it out. You can download a pdf copy of the book at the above link. I reviewed a hard copy yesterday and it was a beauty. A collective in Canada did a really nice micro run. Good food for thought.

TR

In defense of cowboy poetry

In March, when Nevada Senator Harry Reid (D) used cowboy poetry -- cowboy poetry! -- as an example of the "heartless" cuts the Republicans were demanding, even I blanched. I mean, cowboy poetry? Did Reid really think of all the Draconian cuts on the table, this was the one that people would consider a bridge too far? Taking away heating oil for the poor: no problem. But keep your damn hands off my cowboy poetry!

And sure enough, cowboy poetry became a Republican punchline for the new few weeks. But then, thankfully, the New York Times did some research into this sub-genre. Looks like it's not as ridiculous as it sounds. I'm still not sure it deserves government subsidies, but I found myself heartened at the strong appreciation for poetry that seems to have taken root in the Mountain West. In fact, the annual Cowboy Poetry Gathering in Elko, Nevada draws 6,000 attendees. How cool is that?

Gentility

While I remain, as many of us do, a student in advance of a poet, I have yet to gain the sort of shrewdness and experience to form even a working opinion on the art and making of poetry. Despite this, I would like to talk, here, about craft. Or rather, a kind of theory of craft – a poetics I suppose, nonetheless.

Recently I had the brief fortune of attending a poetry workshop under the instruction of Aaron Kunin, a poet, novelist, critic, and brilliant if somewhat daunting professor at Pomona College. Near the end of that course, Kunin, himself a student of the poet and critic Allen Grossman, had offered me a sage warning – or perhaps it might be better put as an appealing problem – with regard to the trajectory of my work in his class. Echoing Grossman, he apprised me of the term “gentility” in poetry, a term Grossman had pronounced as early as 1981 while in conversation with Mark Halliday, a dialogue later to be published in book form as Against Our Vanishing.

Grossman has this to say about “gentility”: “I feel that in poetry today there has arisen a criterion, even among the reputed wild men of civilization, of gentility; and I detest that gentility…I feel it as a sense of internalized constraint. Gentility manifests itself as a set of rules defining what can and cannot be said; and I believe these rules are internalized by the poets of our generation. They speak neither very loud nor very soft, nor very passionately nor with great sadness…At the same time, and this is another matter, I feel that the subjects of poetry have not changed with sufficient ingenuity and courage in accord with our changing sense of what constitutes truth about the social world.”

And my confession: There is an immense portion of my world that certainly remains unsayable in poetry, at least for me. For instance, rarely, if ever, do I speak to what makes me laugh. There are poets who are capable of great humor as well as sobering insight – and there are those who seem somewhat incapable of approaching one or the other spectrum (e.g., Jorie Graham is not a funny poet). To the degree that I assume a voice other than my own social and political one, my poems are manifestations of precisely this gentility. Some of this has to do with tone, certainly, and the questions I imagine I should be asking myself are: What can’t my style accommodate without becoming an irony of itself? How resilient is it? What language can’t I use, what form couldn’t I impose, etc?

As an editor of Foothill: a journal of poetry, one of my goals will be to keep an eye out for poems that accomplish their character without falling to the dangers of gentility. Mostly because I don’t – as of yet – know how to do it myself.

cryptomnesia

Just read Jonathan Lethem's very interesting article "The Ecstasy of Influence" in Harper's Magazine (http://www.harpers.org/archive/2007/02/0081387). It touched on how T.S. Eliot, Bob Dylan, Vladimir Nabokov and others may have succumbed to cryptomnesia. Makes me wonder how many other poets have consciously or unconsciously 'lifted' a concept or turn of phrase.

Masthead and logo design

As evidenced by our blog’s whiteboard background, deliberations over the design of Foothill’s masthead and logo were lively. To our credit and my (pleasant) surprise, while everyone expressed strong opinions, proceedings remained civil.

The whiteboard brainstorm was especially amusing. Like its name, we hoped the journal’s design would somehow echo its concept (a publication for poets who are laboring toward the far off pinnacle of their careers). Moreover, we realized that for some mysterious reason the word foothill reads foo-thill when written in certain fonts. For at least an hour and a half we anxiously and creatively explored ways to set off the two syllables from each other while retaining design integrity. The entire effort was almost crippled by Jordan’s hilarious pictograph of a foot beside what I presume to be an anthill (bottom right of background photo).

I later approached our graphic designer Shari Fournier-Oleary with a headfull of vague and half-baked ideas that she magically made design sense out of. She gave us over twenty options, which resulted in yet another multi-hour discussion at our next meeting. Fingernails were bitten, brows furrowed, opinions advanced and retreated, drinks were drunk, and the white board was again left splattered with absurd graffiti. But decisions were made. 

And after a few minor tweaks submitted to Shari, we had a masthead and logo (below).

What drew us to this masthead is that there is an expansive, almost lonely quality to the emaciated letters fleeing each other across the line. As you may know, the Foothill Avenue that runs along the north border of CGU’s campus is the final stretch of Route 66, a highway that encounters landscapes we felt were echoed in the ambiance of the design without being distastefully literal.

In the logo, this same spirit is preserved along with a kind of playful Modernist e.e. cummings/Charles Olson/Robert Duncan word/line break.

And yes, the design references the journal’s concept not very much. This is probably for the best.

I don’t know that anyone one of us editors got everything we wanted in the deliberations and we were pained to jettison a lot of other great designs, but what we individually compromised compromised nothing in quality. Acclaim for this goes to the incredible work of Shari. And our mothers’ training in civility. And maybe too to the generous donation of several boxes of Dale Brothers 22oz. bottles we received from the Office of Advancement (left over from an alumni event I wish I’d been at).

Gateway poetry

Like most Americans, I was introduced to poetry in public school. And like many people, I didn't much care for it. To my recollection, nothing we read was younger than 300 years old, and the purpose of reading a poem seemed limited to just to finding out what was going on in the text. For years I thought of poems as just flowery riddles.

That is, until the summer of 1999. I lived in Los Angeles and commuted from Westwood to West Hollywood every day for an internship. Since I didn’t have a car, I had to take the bus; the trip took about two hours each way. I have a lot of fond memories of that summer, but few of that commute. In fact, only one.

I stayed out late most nights. Most mornings I was exhausted and despondent – all while surrounded by people like myself: residing in Los Angeles and unable to afford a car. Not a cheery lot. (There were the occasional European tourists, but they usually took one look at the ragged humanity that rides public transport in LA and quickly disembarked.)

But one morning I scanned the notices lining the walls of the bus and found one from some poetry awareness foundation. The ad featured the poem “Encounter” by Czeslaw Milosz. I wasn’t familiar with the poem or the poet, but the piece is so short it took less than a minute to read. And unlike what I was forced to appreciate in high school, this poem wasn’t opaque. It is profound, and becomes richer upon examination, but I felt a lump in my throat after only my first reading. That certainly didn’t happen with “On First Looking into Chapman’s Homer.”

Reading “Encounter” on that bus instantly changed the way I thought of the form. It wasn’t dry and inscrutable – or at least, it didn’t need to be. I realized poetry could produce an emotional response. And realizing that, I began searching out more poems, discovering favorite pieces, authors, and journals. Later I did go back to the classics, and only then could I realize how incredible “Dover Beach” is.

The idea that young people are being introduced to poetry with the wrong poems is not radical or original. (Hollywood even made an overwrought movie about it.) But that doesn’t mean it’s not true. When I talk to teenagers about poetry they usually respond by making a face like they just bit into a lemon. And I don’t blame them. Shakespeare’s sonnets are awesome, but I don’t think it’s realistic to think the average highschooler will respond to them. Or at least I didn’t – not until I read Milosz first.

Work sessions, top: Scott sketches out potential mastheads and logos. Middle: Jordan and Tyler looking intense. Bottom: Jordan, Tyler, Kevin, & Scott surveying the white board. Amazingly, this photo was not posed, although I suspect they were aware I was shooting them.

She sure likes plums...

Since December, the editorial staff of Foothill has been hammering away at the practical aspects of dreaming up, instituting, and running a literary journal. Funding? Check – sort of. Institutional support – done. Selection and implementation of a competent editorial staff? Absolutely. The project on the whole has been, and I confidently speak for the whole group here, a great joy. As graduate students ourselves, it is easy to forget about the world of letters outside of the academy, so to be a part of a project that brings the work of students in the fine arts to the larger literary world is more than a pleasure: it has been exhilarating.

As a project-oriented, business-minded individual, I find the nuts and bolts of publishing and publicity, budgets and grant proposals exciting. The formation of this journal thus far not ceased to be stimulating, however it reached transcendent levels at our last meeting, during which the editorial board agreed it was time to begin defining what we each look for in a poem; what makes a poem speak; what moves each of us individually; what, to each of us, represents a certain paradigm and why.

At our last meeting, we each brought three poems that stand out to us for any number of reasons. Some of the poems were selected because of their content, others because of poet’s perfect execution of her craft. To this point, I cannot speak for my colleagues, but as we read our selections aloud to one another, I found myself transported. Poetry is intimate: not only in its subject matter, but also in the performance of the poem. In reading, our inner selves were laid bare, for the selection of the poems not only exposed our individual aesthetic concerns, but deeper preoccupations, fascinations, and perhaps even anxieties.

Early on, we decided to approach our submissions with an open mind. Aside from quality, we prefer no form to another, and are as open to experimental poetry as we are to traditional. With this in mind, below is the content of our round table poetry reading. Each round of reading was followed by the discussion of one item of business, snippets of which are included (if only for the reader’s amusement).

Member in attendance: Kevin Riel, Rachel Tie, Scott Kneece, Jordan Perry, Tyler Reebe. Beverages in attendance: Laphroaig, Black Swan Shiraz, Spater, Hairy Eyeball.

Round one:

“Second Coming,” Yeats (Tyler)

“First Hour,” Sharon Olds (Rachel) I selected this poem for a number of reasons, but if I had to list only one, it would be for the line “I lay/there like a god.”

“Morningsong,” Plath (Jordan)

“The Drunk in the Furnace,” W.S. Merwin (Scott)

On discussing the tone of the blog:

Tyler: It is an opportunity to be honest, but this isn’t amateur hour. Say what you will, but do it artfully.

Jordan: So no Brown Betty recipes?

Tyler: If it’s artful…

Round Two:

“A Walk in Victoria’s Secret,” Kate Daniels (Kevin) We all had a very powerful reaction to this poem. Personally, I was struck by the way the poet navigated her way through the sometimes gritty life of the breast, utilizing humor and tenderness where necessary, without ever resorting to bawdiness.

“Day Begins at Governor’s Square Mall,” Leon Stokesbury (Jordan)

“China,” Bob Perelman (Rachel)

“Meditation at Lagunitas,” Robert Hass (Scott)

“One for the Shoeshine Man,” Charles Bukowski (Tyler)

On discussing our interview with poet B.H. Fairchild:

Our main hope is to have him expound on the nature of poetry; what is its project? What practical advice can he give to young writers? Is an MFA necessary? What is the current state of poetry? How has your life and your formative experiences shaped your own work? (To read the interview in full, click here: ________)

Round three:

“To a Poor Old Woman,” William Carlos Williams (Rachel) Several editors noted how this poem is the best use of enjambment…ever. After which, a short silence passed and Kevin mentions, “…she sure likes plums…”

“Stolen Child,” Yeats (Jordan)

“Litany,” Billy Collins (Scott) We discussed how difficult it is to use humor in poetry, and how the distinction between useful humor and distracting humor is whether it serves as a window into something deeper, or as a wall, cutting the reader off from something essential.

Tyler’s last poem, whose title and author elude this blogger, was a somewhat political poem about Arizona. We understand that politics and ideology are common themes in poetry, and wanted to discuss our view on this as submissions begin to roll in. We decided that there is certainly a place for these things in poetry, but that in the face of ideological certainty, imagination can be stalled. Therefore, as long as there is craft, we shy away from nothing.

Making a list, checking it twice...

So in making a list of the various MA and MFA programs for creative writing and poetry, I've come across some important discoveries regarding website design--namely, that many schools seem to employ designers that possess all the aesthetic sense of a baked potato.

From tracking down the individual emails of department heads to simply negotiating broken Flash elements, clunky college websites remind me to keep things as fresh and functional as possible. This is especially crucial given that online journals can just as easily fall victim to the same challenges.

Here are some suggestions to journal and university websites alike:

1. Don't repeat yourself.

Don't repeat yourself. I am completely serious.

2. Avoid "filler".

If you wouldn't read it, would a prospective student or contributor?

3. Check your links.

I've noticed an overwhelming number of dead links on departmental pages. This. Must. Stop.

4. Post your contact information ON the website.

A lot of sites are using data forms to avoid spam, which is understandable...

HOWEVER, it really limits who can contact you when journals are looking to add you to a contact list.

First post

Something meaningful to say for our first post . . . I am grateful for the excellent group of editors I have . . . and to Claremont Graduate University (esp. Wendy Martin and Esther Wiley) for supporting us . . . and to poets for their gifts of ontological renewal . . . and craft beer, for ensuring that if my compulsion to repay those I'm grateful to ever temporarily falters, I'll still have unimpeachable cause to make it to our weekly Foothill meetings.