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Wednesday, June 20, 2007

diary: New York wrap-up

I write from Israel, where I’ve spent the last week with my sister, her husband and their five kids, ages seven months to eight years. I’ve been far too busy with life to blog about it, but this morning backslid into my jetlag, waking at six in the morning and so I have a quiet hour in the resort lobby before the next horde of yarmulked Mexican boys or turbaned Sephardic women is disgorged from a tour bus or, more distractingly, my nieces and nephews awaken. Because an hour is a short period of time, and because I am lazy, this blog will consist mostly of excerpts from email I’ve sent to James and other loved ones over the past ten days, redacted here and elaborated there.

I spent much of my time in New York at the 5th Avenue Apple Store, having acquired the following technology problems:

1. my optical drive failed
2. was hacked by a porn site I don't even like to look at
3. my new Pumas with the suede and rubber mace-textured toes got big gashes on both feet by my pinkie toes

Apple Geniuses failed to solve any of these problems, but I left comforted. They could call it the Psychotherapist Bar with greater accuracy.

Two days before my Wednesday afternoon departure I went to see Mano’s workshop production of “I Just Stopped By To See the Man,” an English play imagining, as exploitative English musical interloper, African-American intellectual activist murder accomplice on the lam, and her foundationally important blues musician father, analogues of Eric Clapton, Angela Davis and a foundationally important blues musician I’d never heard of whose name escapes me. Mano had performed this play in San Diego and wants to produce it in New York, so he organized this staged reading, in a black-box theater in the 54th Street building where all the fancy violin shops are, in order to attract other producers. I enjoyed the play, and not just because it starred Mano and Eisa, but because it also starred the guy (name also irretrievable at the moment) who won a Tony for his role in Caroline or Change, who sings and plays harmonica well enough to carry off the role of a foundationally important blues musician. And Mano, of course, sings and plays guitar better than Eric Clapton. My only reservation is that Eisa didn’t get to sing or play anything but her part.

The less said about the rest of the trip, the better.

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