I am a Chicago-based artist, author, veteran, and teacher. I studied at the American Academy of Art in Chicago before enlisting in the United States Air Force in 1968 during the bloody Tet Offensive during the Vietnam era. Upon my discharge I got my BFA in 1994. I got convicted for a crime I did not commit, and I became a homeless-existential artist on Chicago’s mean streets for six months. I got hired by an Acoustic company, and I married and worked for twenty-seven years while raising a family. I now work as an art teacher. All my nonfiction books chronicle different episodes in my life.
I wrote...
Being and Homelessness: notes from an underground artist
Years ago, I was a homeless artist in Chicago, yet the wretchedness of being homeless still clings to me. When I drive to work and gaze at the homeless veterans and tax-paying Americans living in tents under viaducts and bus stops, I realize it took a Kierkegaardian ‘leap of faith’ and belief in God for me to escape that subterranean world.
Homelessness taught me how fragile, fleeting, and impermanent life is. It also taught me how to cope with being stripped bare of all material possessions: job, house, car, clothes, and all the natural necessities of modern life. Being homeless is a Dickensian world of haves and have-nots–a world where there is no buffer zone or sanctuary from the vectors of survival.
I liked the book because it is not just about racism, but it grapples with how hate manifests itself in our Western world.
Jensen paints on a huge canvas detailing American racism from the genocidal slave trade through lynchings to the 2000 murder of Amadou Diallo by NYC police and covers a wide range of other cultural horrors as well: the massacres of Native Americans, the Holocaust, the 8,000 deaths from the 1984 Union Carbide gas leak in India and the deaths of 500,000 children in Iraj.
Derrick Jensen takes no prisoners in The Culture of Make Believe, his brilliant and eagerly awaited follow-up to his powerful and lyrical A Language Older Than Words. What begins as an exploration of the lines of thought and experience that run between the massive lynchings in early twentieth-century America to today's death squads in South America soon explodes into an examination of the very heart of our civilization. The Culture of Make Believe is a book that is as impeccably researched as it is moving, with conclusions as far-reaching as they are shocking.
When I was a homeless artist, I stumbled across this brilliant book, and it validated my belief that contrary to what global capitalists believe, free markets outside the West do not spread wealth in the hands of an ‘outsider’ minority but instead generate ethnic envy and hatred among the frustrated, impoverished majorities.
Amy Chua states that billions of poor, exploited, and powerful people around the world (homeless and displaced) watch as the wealthy minority in the United States continues to amass more control, prestige, and tax breaks.
Ironically, Chua points out, although America is viewed “as arrogant, hegemonic and vapidly materialistic, most of the downtrodden would rather be in the U. S. than anywhere else. In 2023, close to 10 million illegal migrants have entered the U.S. via the porous Texas border.
The reigning consensus holds that the combination of free markets and democracy would transform the third world and sweep away the ethnic hatred and religious zealotry associated with underdevelopment. In this revelatory investigation of the true impact of globalization, Yale Law School professor Amy Chua explains why many developing countries are in fact consumed by ethnic violence after adopting free market democracy.
Chua shows how in non-Western countries around the globe, free markets have concentrated starkly disproportionate wealth in the hands of a resented ethnic minority. These “market-dominant minorities” – Chinese in Southeast Asia, Croatians in the former Yugoslavia, whites…
When I was a homeless artist living on Chicago’s cold streets for six months, it was hard for me to believe in a compassionate Judeo-Christian God. It was difficult for me to reconcile how a just and benevolent God would let African pregnant women be thrown into the Atlantic Ocean and perish with thousands of other slaves.
That is why I became agnostic and was attracted to Sartre’s belief in the essential freedom of individuals, and he also believed that as free beings, people are responsible for all elements of themselves, their consciousness, and their actions. It made me question why I was homeless. Was it because of bad choices in life? Or was it just the experience of being a black male in a racist capitalist society?
Sartre became an existentialist because of the war and an encounter with Merleav Ponty, who taught him the political dimension of human existence. As a homeless black male artist in Chicago, like Sartre, I rejected the idea of class and attempted to strip away the layers of bourgeois values imposed by the elite capitalist.
After crawling out of homelessness with a “leap of faith,” I realized that one of the main flaws of existentialism is its argument that there is no God that determines what occurs in the world, and there is only ex-nihilo as an afterlife. This view creates nihilism, pessimism, and hopelessness for the downtrodden. I am living proof that with societal support, faith, education, and belief, you can transform your life.
Revisit one of the most important pillars in modern philosophy with this new English translation—the first in more than 60 years—of Jean-Paul Sartre’s seminal treatise on existentialism. “This is a philosophy to be reckoned with, both for its own intrinsic power and as a profound symptom of our time” (The New York Times).
In 1943, Jean-Paul Sartre published his masterpiece, Being and Nothingness, and laid the foundation of his legacy as one of the greatest twentieth century philosophers. A brilliant and radical account of the human condition, Being and Nothingness explores what gives our lives significance.
All my life, I have felt like an "outsider." Wright’s book depicts American racism and its devastating consequences in raw and unflinching terms.
The main character Damon Cross, a Chicago negro, disillusioned with the futility of life and the mess he has made of it, reminds me of when I was homeless. The fossilized, decadent cultural barons of American art have always kept me at bay. My entire career has been as an outsider. Outcast. The invisible man. Interloper. Picasso had a blue period. I had a blues period.
All my life, I have used painting and writing as a means of exorcising demons from my being in the world. Art has saved me from dementia. If I didn’t have art to channel my creative impulses, I’m sure I would have become Wright’s Damon Cross.
In the novel, Damon Cross becomes homeless and loses his identity in a subway crash when a subway crash victim is identified as him. Richard Wright’s book is America’s first existentialist novel. Cross' underground life deals with death, freedom, isolation, and meaninglessness. The book deals with the four points of existentialism: the individual, God, being, and truth.
The book reminds me of when I used to sing the Christian hymn, “There is Power in the Blood,” along with hundreds of other lost souls at the Pacific Garden Mission on State Street before I ate my stale bologna sandwich. I then had to strip off my clothing to take an Artic-cold shower before I slept on the lice-infested cots of the mission. Many a night, I gazed up at the starry heavens, asking, "God, why has Thou forsaken me?” Author Wright asks those same questions in his novel.
From Richard Wright, one of the most powerful, acclaimed, and essential American authors of the twentieth century, comes a compelling story of one man's attempt to escape his past and start anew in Harlem.
Cross Damon is a man at odds with society and with himself—a man of superior intellect who hungers for peace but who brings terror and destruction wherever he goes. The Outsider is an important work of fiction that depicts American racism and its devastating consequences in raw and unflinching terms. Brilliantly imagined and frighteningly prescient, it is an epic exploration of the tragic roots of criminal…
Years ago, I was a janitor. When I would take a shower, it was like I could never get the stench off my body. I like Susan Strasser’s book because it reminds me of the waste I use to clean up daily. She examines the most unprecedented commonplace act of throwing things out and how it has transformed American society.
Her classic book about trash world culture is fascinating to me because, in the last hundred years, the way of life has been replaced by mass consumption, disposable goods, and waste on an unimaginable scale. Her book could easily be used as a metaphor for the ‘homeless,’ whom some view as “disposable’ goods. Her book illustrates that what counts as trash depends on who counts it, and what we throw away defines us as much as we keep it.
Strasser argues that in Western society, popular understanding of cleanliness, gender, class, modernization, and national identity became closely connected with daily life habits of consumption. Strasser’s argument is that the waste trade, alongside the culturally discriminatory practices of equating waste with ethnic groups and economic classes, subtly highlights colonial practices of “othering." The transition between waste produced by humans and human being-as-waste appears as a long cultural, political, and economic process within which plastic cups and human lives (the homeless) share the same economic potential of any commodity at a different scale. The first is for personal use, and the second is intended for the development and spread of global capital.
An unprecedented look at that most commonplace act of everyday life-throwing things out-and how it has transformed American society.
Susan Strasser's pathbreaking histories of housework and the rise of the mass market have become classics in the literature of consumer culture. Here she turns to an essential but neglected part of that culture-the trash it produces-and finds in it an unexpected wealth of meaning.
Before the twentieth century, streets and bodies stank, but trash was nearly nonexistent. With goods and money scarce, almost everything was reused. Strasser paints a vivid picture of an America where scavenger pigs roamed the streets,…
My book recommendations reflect an abiding passion for Japanese literature, which has unquestionably influenced my own writing. My latest literary interest involves Japanese poetry—I’ve recently started a project that combines haiku and prose narration to describe my experiences as a part-time resident in a 1300-year-old Japanese hot spring town that Bashō helped make famous in The Narrow Road to the Deep North. But as a writer, my main focus remains novels. In late 2023 the second in a planned series of novels set in Ishikawa prefecture will be published. I currently live in Kanazawa, but have also been lucky to call Sapporo, Akita, Tokyo, and Fukui home at different times.
Emmitt’s plans collapse when his wife, Mirai, suddenly backs out of purchasing their dream home. Disappointed, he’s surprised to discover her subtle pursuit of a life and career in Tokyo.
In his search for a meaningful life in Japan, and after quitting his job, he finds himself helping his mother-in-law translate Kanazawa’s most famous author, Izumi Kyoka, into English. He becomes drawn into the mysterious death of a friend of Mirai’s parents, leading him and his father-in-law to climb the mountain where the man died. There, he learns the somber truth and discovers what the future holds for him and his wife.
Packed with subtle literary allusion and closely observed nuance, Kanazawa reflects the mood of Japanese fiction in a fresh, modern incarnation.
In Kanazawa, the first literary novel in English to be set in this storied Japanese city, Emmitt's future plans collapse when his wife, Mirai, suddenly backs out of negotiations to purchase their dream home. Disappointed, he's surprised to discover Mirai's subtle pursuit of a life and career in Tokyo, a city he dislikes.
Harmony is further disrupted when Emmitt's search for a more meaningful life in Japan leads him to quit an unsatisfying job at a local university. In the fallout, he finds himself helping his mother-in-law translate Kanazawa's most famous author, Izumi Kyoka, into English.
